TWO by Art Europe Auctions

TWO Decorative Arts & Jewellery 22 May 2016, Amsterdam

ART EUROPE Decorative art & Jewellery 22 May 2016 Amtrium RAI Amsterdam, Europaplein 22, 1078 GZ Amsterdam

TWO Decorative Arts & Jewellery

Auction date Sunday 22 May, 2016 Session one - Decorative Arts 11am Session two - Jewellery 14.30pm Decorative Arts: lot 1-122. Jewellery: lot 123- 288 Viewing days Thursday 19 May 2016 Friday 20 May 2016 Saturday 21 May 2016

11am – 10pm 11am – 10pm 10am – 5pm

Auction & viewing location Amtrium RAI Amsterdam, Europaplein 22, 1078 GZ Amsterdam The entrance of the Amtrium is to the left of the Roast Room Restaurant, Europaplein 2, 1078 GZ Amsterdam. For parking, please refer to the website of RAI Amsterdam, www.rai.nl.

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Experts for “TWO”

Christiaan van Rechteren Limpurg Furniture & Decorative Arts Bernadette de Bruijn Jewellery & Silver For condition reports, please email your request to jewellery@arteuropeauctions.com or decorative@arteuropeauctions.com For online bidding please visit our website www.arteuropeauctions.com

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“ People will stare. Make it worth the while ”

TWO Decorative Arts & Jewellery

Art Europe successfully launched in december 2015, when we welcomed hundreds of visitors during the opening events, viewing & auction days in Amsterdam. T W O is our second sale and I am extremely grateful to all the people involved in making T W O a reality. Auctions are first and foremost about building trustful relationships with clients through knowledge, expertise and the sharing of a passion; it really is a peopleâ&#x20AC;&#x2122;s business. Although we are a young company, our team has been nurturing client relationships for years and it is through this that we are able to create auctions such as these. Art Europeâ&#x20AC;&#x2122;s expertise & knowledge in the art world, combined with the next generation of auction specialists, enables us to serve our clients to the full. The specialists of this sale, Christiaan van Rechteren and Bernadette de Bruijn, have been a driving force in its creation, and this auction represents a wonderful opportunity to acquire great works of Jewellery, Furniture and Decorative Arts. We offer late evening viewings on the Thursday and the Friday, and are open throughout the Saturday to allow everyone the opportunity to enjoy all the works on display. The auction itself, Auction T W O, will take place on Sunday, May 22nd. Auction T H R E E will follow on May 23rd. We have found a wonderful and exciting exhibition space to hold these auctions and viewings. On behalf of the whole Art Europe team we thank our consignors and you for your interest in our sales. We look forward to have you joining us, whether it is during viewing days or through written or telephone bids, or on-line bidding. We like it best though if we can meet you personally in our sale room and share the excitement and thrills of a live auction with you! Peter Paul Guthman Managing Director

D E C O R AT I V E A R T S Session one: lot 1-122.

16 62

1 A CHARLES X ORMOLU AND TOLE PEINTE STRIKING MANTEL CLOCK By Angevin a Paris, Paris, early 19th century The case modelled as a basket supported by a pair of winged putti and surmounted by a nozzle with flame finial, the open worked dial with enamelled roman chapter ring signed Angevin a Paris. The twin barrel movement with silk suspended pendulum and pierced count wheel with a strike on a bell. 35 cm high x 27,5 cm wide

€ 3.000 – 5.000 Another version of this model is illustrated in P. Kjellberg, Encyclopédie de la pendule française du Moyen-Âge au XXe siècle, Paris, 1997, pp. 448-449.

2 A FRENCH CARVED MAHOGANY THRONE Signed Ravier, second half 19th century, after the throne of Dagobert in the Musée de Cluny, Paris The pediment shaped pierced double-arched top rail and armrests intricately carved with rosettes and scrollwork supported on zoomorphic legs joined by a X-shaped stretcher. 104 cm. high

€ 8.000 – 12.000 This magnificently carved throne is a very good copy of the celebrated Throne of Dagobert now in the Musée de Cluny, Paris. This bronze throne, reputedly made fort he Merovingian king Dagobert in the 7th century started its life as a folding X-frame curule throne. The arms and back were added later in the 12th century. Napoleon I used the throne in certain ceremonies such as the Légion d’honneur. F. Dampierre, Chairs a History, New York, 2006, p. 56.

3 A PA I R O F O R M O L U PAT I N AT E D BRONZE WHITE MARBLE AND BLUE TURQUIN THREE-LIGHT FIGURAL CANDELABRA Baltic, circa 1800 Each modeled as a classically clad maiden standing on a column with laurel leaf sleeve and square plinth base, holding a foliate shaft issuing scrolling branches headed by eagles and centred by a tapering fluted flaming torchère issuing chains. 65 cm high

€ 6.000 – 8.000

4 A D U T C H S AT I N W O O D , KINGWOOD, AMARANTH, FRUITWOOD, MARQUETRY AND BLACK AND RED LACQUER SIDEBOARD Late 18th century The eared breakfront white marble top above a frieze drawer and two doors enclosing a plain interior. 92 cm. high x 119 cm. wide x 55 cm. deep

€ 6.000 – 8.000

5 A DUTCH MAHOGANY FRUITWOOD MARQUETRY S E C R É TA I R E À A B AT TA N T Circa 1800 The canted rectangular top above a frieze drawer and rectangular fall front enclosing a fitted interior with various compartments and drawers and green base lined writing surface above a pair of doors inlaid with barber- pole swags, lacking key. 148 cm high x 93 cm wide 44 cm deep

€ 1.000 – 1.500

6 A PA I R O F A U S T R I A N C H E R R Y W O O D A N D G I L T- W O O D TORCHÈRES circa 1800 Each with circular tablet top above a spreading acanthus wrapped shaft on tripod base. 89 cm. high

€ 2.500 – 3.500

7 AN ORMOLU-MOUNTED AND BRASS INLAID MAHOGANY TORCHÈRE French or English, second 18th century The foliate-shaped dished tablet on spreading turned fluted and stop-fluted shaft with tripod base. 95 cm. high

€ 3.000 – 5.000

8 A FRENCH PROVINCIAL WALNUT E X T E N D I N G D I N I N G TA B L E Early 19th century With a hinged D-shaped flap to each side, two extra leaves and two later extra leaves on baluster turned tapering legs terminating in brass caps and casters. 74 cm. high x 325 cm. extended x 155 cm. wide

€ 2.500 – 3.500

9 AN EMPIRE ORMOLU MANTEL CLOCK AU CHARIOT Early 19th century, by Gounoilhou a Geneve The case modelled as a horse-drawn chariot with Telemachus at the reigns under the protection of Pallas Athena. The wheel of the chariot with enamelled roman chaptering signed SIM GOUNOILHOU À GENEVE with a twin barrel movement, silk suspension pendulum and a strike on the bell. 45,5 cm. high

€ 7.000 – 9.000 Provenance: Acquired by the father of the present owner in the 1960’s. Another version of this model is illustrated in P. Kjellberg, Encyclopédie de la pendule française du Moyen-Âge au XXe siècle, Paris, 1997, p. 417.

10 A PA I R O F C H A R L E S X O R M O L U A N D C U T G L A S S CANDLESTICKS Circa 1820 Each with tapering nozzle cast with acanthus and lotus leaves, faceted shaft and domed circular foot. 21 cm. high

€ 1.500 – 2.000

11 A PA I R O F C H A R L E S X O R M O L U A N D G O R G E D E P I G E O N GLASS CANDLESTICKS Circa 1820 16 cm. high

€ 1.000 – 1.500

12 A N I TA L I A N G I LT W O O D S I X L I G H T C H A N D E L I E R A P P L I E D W I T H S H E L L S A N D CORALS Early 20th century The gadrooned baluster shaft issuing scrolling branches, applied profusely with shells and coral. 61 cm high x 84 diam. cm

€ 1.200 – 1.800

13 A GROUP OF THREE WOOD SHELL AND CORAL CENTREPIECES Modern One surmounted by a Nautilus the other two by corals each mounted on turned wood soccles. Highest: 87 cm high, smallest: 52 cm high

€ 1.200 – 1.800 7

A PA I R O F A N G L O - I N D I A N I V O R Y CANDLESTICKS ~

AN ENGLISH ORMOLU DESSERT S TA N D

Murshidabad, early 19th century

Possibly Birmingham, first half 19th century, after the model by Paul Storr based on a design attributed to Thomas Stothard.

Each with gadrooned vase shaped nozzle on spreading ribbed foot supported by a spirally fluted tapering shaft on a hexagonal moulded plinth base. 25 cm. high

The pierced basket with everted fruiting vine rim supported by two cherubs seated on a lioness on a naturalistic base; with a modern decorative shell inlay composition.

€ 5.000 – 7.000

27,5 cm. high x 22 diam. cm.

€ 4.000 – 6.000 A pair of magnificent silver dessert stands by Paul Storr were made for John Pritchard in 1808. These dessert stands follow the same design as the present lot but are raised on a higher stand. Paul Storr was England’s most celebrated silversmith during the first half of the nineteenth century and his legacy lives on today. His pieces historically and currently adorn royal palaces and the finest stately homes throughout Europe and the world. Storr’s reputation rests on his mastery of the grandiose neo-Classical style developed in the Regency period. He quickly became the most prominent silversmith of the nineteenth century, producing much of the silver purchased by King George III and King George IV.

16 AN ORMOLU MOUNTED BLUE JOHN, ROUGE L A N G U E D O C A N D V A R I E G AT E D M A R B L E V A S E Probably French, early 19th century The ovoid body applied with scrolling foliate handles issuing from male masks on a stepped square plinth base, chips to the Blue John, the pineapple finial associated. 26 cm. high

€ 5.000 – 7.000

17 A N O R T H I TA L I A N G I LT W O O D MIRROR Carved elements 19th century The rectangular plate within a moulded frame applied with pier and foliate cresting. 133 cm. high x 129 cm. wide

€ 1.800 – 2.400

18 A PA I R O F N O R T H E U R O P E A N G I LT W O O D A N D G I LT M E TA L THREE-LIGHT WALL APPLIQUES Early 19th century Each modelled as a lion mask issuing a ring with three vast shaped nozzles. 20 cm. high

€ 800 – 1.200

19 A L A R G E I TA L I A N G I LT W O O D MIRROR 19th/20th century The rectangular plate within a moulded frame applied with pier and foliate cresting. 179 cm. high x 135 cm. wide

€ 6.000 – 8.000

20 AN AUSTRIAN CUT AND POLISHED STEEL MOUNTED S TA I N E D B U R R F I E L D M A P L E AND MAPLE JEWELLERY CASKET Vienna, circa 1820 The hinged domed lid applied with a floral basket with serpent-shaped handles to the side and pad lock and bar mechanism to the front, key lacking. 8 cm high x 27 cm wide x 18,5 cm deep

€ 1.500 – 2.000

21 A N O R T H E U R O P E A N G I LT W O O D A N D G I LT M E TA L MIRROR Probably North German, late 18th century The rectangular bevelled plate within a bead-and-reel moulded frame surmounted by a pierced gallery centred by a pedestal with classical mask medallion within a laurel wreath. 125 cm. high x 44 cm. wide

€ 3.000 – 5.000

22 A D U T C H S AT I N W O O D , B U R R FIELD MAPLE EBONY AND FRUITWOOD GUÉRIDON Late 18th century The circular quarter veneered cross-banded top on slender outscrolling legs joined by a pen engraved foliate wrapped cylindrical lead weighted undertier. 77,5 cm. high x 97,5 cm. diam.

€ 4.500 – 5.500

23 A PA I R O F D I R E C T O I R E O R M O L U A N D PAT I N AT E D B R O N Z E THREE-LIGHT FIGURAL CANDELABRA Late 18th/Early 19th century Moulded as a man and a maiden in classical dress each holding an urn issuing three foliate branches. 59 cm. high

€ 12.000 – 18.000

A F R E N C H PA R C E L - G I LT M A H O G A N Y CORNER CANAPÉ Early 20th century With moulded frame, the padded back, seat and arms upholstered in green leather, the arm supports modelled as swans. Wide 175 cm

€ 2.500 – 3.500

25 A N I TA L I A N S C A G L I O L A A N D B R A S S L O W TA B L E By Emilio Martelli, Florence, 1950’s The rectangular top decorated with trompe-l’oeil drawings and a violin, indistinctly signed on baluster turned tapering legs joined by a stylised H-stretcher. 47,5 cm. high x 123 cm. wide x 58 cm. deep

€ 2.000 – 3.000

A PA I R O F W A L L A P P L I Q U E S I N FA U X PORPHYRY EN MALACHITE The backplates modelled as obelisks applied with trophies and medallions. 101 cm high

€ 2.000 – 3.000

27 A B A LT I C M A H O G A N Y M A N T E L C L O C K J. J. Politur, Riga, late 18th century The case modelled as a fluted column surmounted by a flaming urn and inset with a circular enamelled dial signed J.J. Politur a. Riga with double-barrelled movement and silk suspended pendulum. 48 cm. high

€ 3.500 – 4.500 14

A R E S TA U R AT I O N M A H O G A N Y C O N S O L E TA B L E circa 1820 The variegated grey marble top above a plain frieze supported by lions paw legs on a concave fronted plinth base.

85,5 cm. high x 99 cm. wide x 42 cm. deep

€ 1.500 – 2.000

29 A DUTCH EMPIRE ORMOLU-MOUNTED, MAHOGANY AND WHITE MARBLE SIDECABINET Early 19th century The concave fronted rectangular white marble top above a frieze drawer and a pair of doors flanked to each side by a column headed by a bold palmet and terminating in square feet applied with Apollo’s lyre. 68 cm high x 109 cm. wide 49, 5 cm deep

€ 3.000 – 5.000

30 A D U T C H G I LT W O O D C A R T E L C L O C K By M. Buys, Amsterdam, 1798 The circular enamelled dial with Roman and Arabic chapters within a scrolling foliate case surmounted by a vase and issuing a berried laurel swags. The twin barrel movement with silk suspension, saw escapement and two strikes on two bells, signed on the backplate M. Buys Amsterdam 1798, pendulum lacking. 95 cm. high

€ 3.500 – 3.800 15

31 A D I R É C T O I R E A C A J O U M O U C H E T E A N D G I LT W O O D C I R C U L A R C E N T R E TA B L E Attributed to Bernard Molitor, early 19th century The circular Gris Saint Anne marble top above a plain frieze on three animal legs headed by satyr masks and terminating in hoof feet on a tripod tied under tier with later casters. 83 cm. high x 98 diam. cm.

€ 7.000 – 9.000 For tables with comparable hoofed legs headed by satyr masks see U. Leben, Molitor: Ebeniste from the Ancien Regime to the Bourbon Restoration, London , 1992.

A GROUP OF VARIOUS MOUNTED BUTTERFLIES

A GROUP OF VARIOUS MOUNTED BUTTERFLIES AND A STUFFED SONGBIRD

Mounted on branches, and covered by a glass dome on an ebonised wood base. 43,5 cm high including glass dome

€ 600 – 800

34 A GROUP OF MOUNTED BUTTERFLIES AND A STUFFED WOODPECKER Mounted on branches, and covered by a glass dome on an ebonised wood base. 44 cm high including glass dome

€ 600 – 800 17

Mounted on branches, and covered by a glass dome on an ebonised wood base. 39 cm high including glass dome

€ 600 – 800

35 A PA I R O F S T E E L A N D B R A S S B AY O N E T T H R E E - L I G H T W A L L APPLIQUES Early 20th century Each with sword backplate with waved blades applied with scrolling bayonet branches. 59 cm. high

€ 1.500 – 2.000

36 A D U T C H S I LV E R B R E A D B A S K E T Haarlem, circa 2000 Of boat shape, the body line with line and trellis, with maker’s mark Karel Schermerhorn. Second alloy, 435 grams, 27.5 cm wide

€ 800 – 1.200

37 A PA I R O F D U T C H C A N D L E S T I C K S , J.H. ROELFSEMA Winssum, 1886 The triangle shaped bases with tapering bodies and lion finials, vase shaped candleholders and detachable nozzles. 852 grams (wooden bases), 22 cm high.

€ 2.500 – 3.500 The model is inspired by a similar pair of candlesticks by Diederik Lodewijk Bennewitz Amsterdam dated 1811 - 1820, see Barend J. van Benthem, ‘De werkmeesters van Bennewitz en Bonebakker’, Amsterdam, p 591 with illustration.

38 A RUSSIAN EIGHTEEN-LIGHT ORMOLU CHANDELIER “AU M A S Q U E D ’ AT H E N E ” Mid 19th century, probably St Petersburg The lotus-leaf cast corona issuing palm leaves and six suspension chains to the circular palm leaf lower tier applied with pierced fountain crestings and six Pallas Athena masks each issuing three scrolling branches. 132 cm. high x 98 diam. cm.

€ 40.000 – 60.000 This impressive chandelier has as main design element the mask of Athena which is inspired by the appliques “au masque d’Athene” supplied to the Russian court by the bronzier Jean Pierre Lancry. Lancry worked for the Russian court between 1804 and 1807 and is recorded to have supplied this model for the Palace of Tsarskoe Seloe near st Petersburg. Ravrio supplied a similar model to the palace of Fontainebleau around the same period. A pair of appliques of this design was offered at Sotheby’s Paris, 7 November 2013, lot 299. G. Loukomski, Tsarskoe Selo, Furniture and Interiors, London, 1987, p. 83 J.-P. Samoyault, Pendules et Bronzes d’ameublement entrés sous le Premier Empire, Paris, 1989, p. 146, n. 122-123

The Lancry appliques at Tsarskoe Seloe

39 A N E M P I R E O R M O L U PAT I N AT E D B R O N Z E A N D ROUGE GRIOTTE MARBLE MANTEL CLOCK By Lesieur, Paris, early 19th century The case with circular dial flanked by the figure of Amor, the twin barrel movement with silk suspended pendulum, pierced count wheel with a strike on a bell, the backplate signed Lesieur. 47 cm. high

€ 5.000 – 7.000

40 A D U T C H T W O T O N E G I LT W O O D MIRROR Late 18th century The divided rectangular plate within a moulded bead-and reel frame with paterae to the corners surmounted by a glazed oval medallion depicting the figure of Apollo flanked by fruiting vine leaves shoots. 171 cm high x 71 cm. wide

€ 3.500 – 3.800

41 A DUTCH MAHOGANY SIDEBOARD Circa 1770-80 The hinged eared rectangular canted top with dentilled rim and two hinged shelves to the reverse above three frieze drawers and two doors applied with finely carved ribbon-tied swags issuing circular fan motifs, between canted panelled angles terminating in scrolling feet with foliate sarbots. 97 cm high x 150 cm wide x 58 cm deep

€ 10.000 – 15.000

42 A FLEMISH CARVED OAK VASE second half 19th century With foliate-carved lid issuing angular handles to the ovoid body carved with lion masks and floral swags on a swirling spreading foot and octagonal plinth base. 71 cm. high

€ 1.000 – 1.500

43 AN ENGLISH TURNED SERPENTINE VASE Second quarter 19th century With overscrolled rim above a tapering neck and bun shaped body on spreading foot with everted rim and circular plinth base. 50 cm high x 38 diam. cm.

€ 2.500 – 3.500

44 A PA I R O F N O R T H E U R O P E A N TURNED ROOTWOOD CANDLESTICKS 19th century Each with bulbous nozzle and gadrooned drip pan above a naturalistic shaft and spreading circular foot with squared plinth base. 27.5 cm. high

€ 1.000 – 1.500

45 A D U T C H B U R R W A L N U T G R A I N E D A N D PA R C E L - G I LT C A R V E D W O O D O V E R D O O R É TA G È R E Mid-18th century Of waved panelled stepped shape with ten shaped plinths supported by rockwork scrolls. 55,5 cm. high x 161 cm. wide

€ 2.500 – 3.500

46 A PA I R O F D É C O U PA G E A N D SILK COLLAGES OF A TURKISH A N D A E U R O P E A N D I G N I TA R Y Italian or Austrian, 18th century Each mounted in a glazed parcel-gilt composition frame inset with verre eglomisé panels. 36 cm. high x 28 cm. wide

€ 2.000 – 3.000

47 A G I LT M E TA L M I R R O R 20th century The square moulded frame inset with 36 convex mirrors. 105 cm high x 105 cm wide

€ 1.500 – 2.000

48 A RÉGENCE COMMODE ORMOLU AND BRASS MOUNTED ROSEWOOD COMMODE First quarter 18th century The liver-coloured moulded marbled top above two short and two long drawers between fluted angles, minor losses to the veneer. 84 cm. high x 128 cm. wide x 66 cm. deep

€ 4.000 – 6.000

49 A RÉGENCE ORMOLU AND BRASS MOUNTED KINGWOOD, WALNUT AND PA R Q U E T R Y C O M M O D E Possibly Eastern France, first quarter 18th century The serpentine moulded top inlaid with heart-shaped panels to the corners above three drawers and waved apron, the angles applied with foliate mounts and espagnolettes. 87 cm. high x 140 cm. wide x 68 cm. deep

€ 12.000 – 18.000 24

50 A N O R T H E U R O P E A N R E D A N D G I LT J A PA N N E D A N D D E L F T T I L E PA N E L C E N T R E TA B L E The tile panel second half 18th century, the table late 19th century, possibly Danish The tile panel painted with an Arcadian garden scene entitled ‘die Lufft/Aer’, multiple breaks and restorations to the tiles, one tile replaced. 71 cm. high x 90 cm. wide x 67 cm. deep

€ 1.000 – 1.500

51 A PA I R O F B L U E A N D O C TA G O N A L B U T T E R T U B S A N D C O V E R S Delft, 1750 Each with waved octagonal domed lid with black berry finial above a tapering body on waved foot and with floral handles decorated to the lid and body with repeating with a milkmaid and a river with ruines. 8.80 cm high x 13.00 cm wide x 11.50 cm deep

€ 3.500 – 3.800 25

50 Detail 52

52 A BLUE AND WHITE LOBED OVAL PLAQUE Delft, circa 1750 With moulded raised floral rim decorated with pagodas and courtly figures amongst flowering shrubs and perching birds, with two pierced suspension holes. 36,5 x 32 cm

€ 3.500 – 3.800

53 A BLUE AND WHITE SHAPED SQUARE PLAQUE Delft, circa 1750 With a raised floral rim decorated with a Chinese potter, stag and various birds amongst blossoming shrubs. 25 x 25 cm

€ 1.800 – 2.400

54 A BLUE AND WHITE SQUARE CHAMFERED PLAQUE Second half 18th century Painted with riverscape with a sailboat and various houses on the shore, with scratched star mark to the back, pierced at the top with two holes for suspension. 26 x 26 cm

€ 2.500 – 3.500

51 26

55 A FRENCH CAST IRON MODEL OF A GRIFFIN Late 19th century Modeled seated on a rectangular plinth base. 77 cm high

€ 3.500 – 4.500

56 A C A S T I R O N S TAT U E O F G I U L I A N O D E M E D I C I , D U K E O F NEMOURS, DEPICTED AS A ROMAN After Michaelangelo, cast by the Val d’Osne foundry, second half 19th century After the statue of Michelangelo in the Tombe of de Medici Sagrestia Nuova, San Lorenzo Florence the rectangular plinth base cast with the val d’Osne foundry mark. 95 cm high

€ 12.000 – 18.000 28

57 A PA I R O F H E X A G O N A L G I LT M E TA L HALL LANTERNS

58 A PA I R O F I TA L I A N G I LT W O O D A N D MARBLEISED WALL APPLIQUES

Modern

19th century, fitted for electricity

Each with hexagonal tapering glazed body and foliate finials.

Each with shield shaped backplate surmounted by a scallop shell and c-scrolls and issuing a single branch modelled as an arm holding a candlestick.

Each 76 cm high

€ 2.000 – 3.000

62 cm high

€ 4.000 – 6.000

A PA I R O F N O R T H E U R O P E A N G I LT M E TA L A N D T Ô L E P E I N T E W A L L LANTERNS

A G E O R G E I I G I LT W O O D M I R R O R

18th century

The rectangular plate within a scrolling open worked floral frame with foliate-pierced cresting centred by a dragon, re-gilt.

Each with tapering square glazed body and a hinged door to one side. Each 47,5 cm

€ 2.000 – 3.000

Mid-18th century

130 cm. high x 71cm. wide

€ 4.500 – 5.500

61 A PA I R O F S I LV E R C A N D L E S T I C K S Probably German, early 17th century Each with foliate nozzle and baluster shaft with chased and embossed collar shaped drip pan on a spreading lobed circular foot marked with an eagle to the rim of the foot. 21 cm. high

€ 4.500– 5.500

62 T W O E N G L I S H B L A C K A N D G I LT J A PA N N E D M A H O G A N Y O C C A S I O N A L TA B L E S 18th century, the japanning 19th century Each with circular dished top decorated with oriental figures amongst pagodas and spreading turned shaft with tripod stand and pad feet. 72 cm. high x 36,5 diam. cm and 70 cm high x 35 cm diam. cm

€ 1.000 – 1.500

63 A T E R R A C O T TA F I G U R E O F A M E R R Y DRINKER Flemish or Italian early 19th century 27 cm high

€ 1.000 – 1.500

64 A C A R V E D S TA G H O R N P O W D E R FLASK

German, circa 1600, the brass mountings probably later Carved to one side in relief with the story of Samson and the Lion. 20 cm. high

€ 1.000 – 1.500

65 A V I E N N E S E S I LV E R - G I LT E N G R A V E D R O C K C R Y S TA L C O U P E Late 19th century The crystal engraved overall with grotesque scrollwork and swans, the cup mounted with a pierced scrolling rim with grotesque masks on a Renaissance style baluster shaft and domed foot, the cup cracked and gilding largely worn. 23.5 cm. high

€ 1.500 – 2.000

66 T W O I TA L I A N W A X B U S T S Naples, early 19th century Comprising a bust of a young man with short cropped classical hair dress and glass inset eyes and a blackamoor boy with glass inset eyes. 14,5 cm and 11 cm. high

€ 2.000 – 3.000

67 A FLEMISH EBONISED MIRROR First half 19th century The rectangular plate within a ripple-moulded frame applied with brass suspension rings, incised to the back with date 1813. 105 cm. high x 88 cm. wide

€ 3.000 – 5.000

68 A N I T A L I A N S T A I N E D W A L N U T, ENGRAVED BONE AND R O S E W O O D TA B L E C A B I N E T Naples, second half 17th century The rectangular case applied with brass corner mounts and fitted with an architectural arrangement of drawers and a door enclosing a further fitted interior with drawers decorated overall with various birds and figures. 51 cm. high x 100 cm wide x 30,5 cm deep

€ 5.000 – 7.000

69 A PA I R O F L A R G E I TA L I A N BRASS WALL APPLIQUES 17th century Each with cylindrical nozzle and a turned drip pan on S-scrolled arm mounted on a later circular domed back plate. 46 cm. wide

€ 3.000 – 5.000

A G E R M A N G I LT B R A S S - M O U N T E D G I L T- T O O L E D L E A T H E R C O V E R E D CELLARETTE

A BRASS CULPEPPER TYPE MICROSCOPE AND CASE Probably English, late 18th/early 19th century

Mid-18th century The hinged square lid enclosing a green-lined fitted interior with eight white metal-mounted engraved glass bottles and engraved glass.

Unsigned and undated in a pyramidal oak case. 41 cm. high

€ 2.000 – 3.000

Case: 28 cm. high x 28 cm. wide x 28 cm. deep

€ 1.500 – 2.500

A G I LT B R A S S M O U N T E D I V O R Y CHALICE ~

A S I LV E R A N D S I LV E R G I LT M O U N T E D I V O R Y C O N TA I N E R ~

19th century

Probably German, 17th or 18th century

The turned ivory cup with scrolling herm handle on a turned open-worked support joined by C-scrolls on a domed circular foot.

The domed circular lid with dodo finial above a turned cylindrical body, The lid apparently unmarked.

22,5 cm high

16 cm. high

€ 1.000 – 1.500

€ 1.800 – 2.400

A F L E M I S H E N G R A V E D G I LT B R A S S A N D G I LT M E TA L T H R E A D M O U N T E D C U T S I L K V E LV E T C O V E R E D C A S K E T

A SOUTH GERMAN EBONISED CHERRY WOOD AND FRUITWOOD AND BRASS-MOUNTED WRITING CASKET

Antwerp, Late 16th - early 17th century

Late 17th century The domed lid with a ring turned carrying handle enclosing a green silk lined interior above a floral engraved lock plate with trefoil key and trefoil handle to the side with one side rising up to reveal a further drawer on bun feet. 18,5 cm high x 23,5 cm wide x 16 cm deep

The hinged ripple-moulded rectangular top inlaid with a central star motif enclosing a marbleised paper lined interior with a pen compartment above two drawers on bracket feet, the underside inscribed in white with inventory number: E-80/290.

€ 6.000 – 8.000

15 cm. high x 25 cm. wide x 20,5 cm. deep

€ 1.200 – 1.800

76 A CARVED WHITE MARBLE FIGURE OF CUPID Dutch or Flemish, late 17th century Depicted standing in contrapposto holding up a later arrow on a naturalistic base. 90 cm high

€ 7.000 – 9.000

77 A C A R V E D G I LT W O O D F I G U R E OF A PUTTO WITH A VIOLA DA GAMBA Swiss or French, by C Veyrier, 1667 Signed and dated to the reverse ‘c. veyrier 1667’ on a naturalistic wood base. 87 cm. high

€ 3.000 – 5.000

78 A J A PA N E S E B L A C K R E D A N D G I LT L A C Q U E R E D R E D CHARGER Meiji dynasty Decorated with Mount Fuji amongst clouds swirls with a seascape with fisherman and islands with pagodas and pine trees, nine-character inscription to the reverse. 57 diam. cm.

€ 2.000 – 3.000

79 A CHINESE BLUE AND WHITE DISH Kangxi, early 18th century Decorated with foliate branches issuing peaches and finger citrus, chips to the rim. 33.5 diam. cm.

€ 1.500 – 2.500

80 A DUTCH CARVED OAK WALL CLOCK

Southern Netherlands, late 17th/early 18th century The oak case surmounted by a carved armorial cresting, the black painted dial with brass roman chapter ring and alarm disc, the single hand broken, the weight-driven movement with anchor escapements and later suspension, strike on the bell lacking, parts associated. 65 cm. high

€ 2.000 – 3.000

81 A N O R T H I TA L I A N M O T H E R - O F - P E A R L I N L A I D B L A C K A N D G I LT J A PA N N E D CASKET ~ 17th century The hinged domed rectangular lid inlaid with pomegranate trees and perching birds enclosing a japanned interior with engraved gilt hinges. 10 cm high x 31 cm wide x 18 cm deep

€ 1.800 – 2.400

82 A G I L T- T O O L E D L E A T H E R C O V E R E D CASKET The leather possibly by the Plantin workshop, Antwerp, late 16th/early 17th century The domed rectangular lid with a brass handle enclosing a red silk lined interior, the right side panel rising up to reveal a concealed drawer on brass ball feet. 20 cm. high x 31 cm. wide x 19 cm. deep

€ 1.800 – 2.400

A LOUIS XIV BRASS-MOUNTED OLIVEWOOD AND ROSEWOOD SHIPS DOCUMENT CASE

AN ENGLISH OAK CHEST ON S TA N D Third quarter 18th century

Late 17th century Inlaid to the top front and sides with quarter veneered panels and applied with fleur-de-lys brass straps and spandrels with screws inserted to each side, carrying handles to the sides. 15, 5 cm high x 30,5 cm. wide x 21 cm. deep

€ 1.500 – 2.000

The rectangular top above a pair of paneled doors, the stand with bracket feet and three drawers; later metalwork and originally with hinged top. 102 cm high x 148 cm wide 54, 5 cm deep

€ 800 – 1.200

85 A N I TA L I A N O R M O L U M O U N T E D TORTOISESHELL ROSEWOOD AND EBONISED CABINET ~ Naples, 17th century The rectangular case applied with pierced scrolling corner mounts headed by cherubs enclosing an architectural arrangement of rippled moulded recessed drawers centred by a drawer shaped as a pediment centred by a niche above a further niche with gilt bronze figure of a maiden flanked by corinthian balusters enclosing four further drawers on bun feet scrolling grotesque handles on the side. 73 cm. high x 137 cm. wide x 36 cm. deep

€ 30.000 – 40.000

86 A C H I N E S E FA M I L L E R O S E PORCELAIN VASE Late 19th century The ovoid body enamelled with flowers and perching birds on rockwork and a spider in its web. 36.5 cm. high

€ 1.500 – 2.000

85 Detail

87 A W I L L I A M A N D M A R Y W A L N U T, F R U I T W O O D , E B O N I S E D A N D M A R Q U E T R Y C A B I N E T O N S TA N D Late 17th century Inlaid overall with flowers, vases and birds. The rectangular top above a frieze drawer and a pair of doors enclosing a fitted interior with an arrangement of drawers around a door. The stand with a frieze drawer and six spiral and baluster turned legs joined by a shaped stretcher and on ball feet. 166 cm. high x 110.5 cm. wide x 49 cm. deep

â&#x201A;Ź 35.000 â&#x20AC;&#x201C; 45.000

88 A R E D A N D G I LT J A PA N N E D C E N T R E TA B L E The 18th century and probably German on a later stand The rectangular top decorated with raised Chinese figures and various trees on a later Chinese style stand decorated with floral and foliate sprays, losses to the decoration at the top. 74 cm high x 235 cm wide x 108 cm deep The raised figures and the red ground are typical of the chinoiserie decoration found on furniture made for the various palaces of the kingdom of Saxony mostly attributed to the workshop of Martin Schnell. CF. M. Kopplin, Chinois, Dresdener Lackkunst in Schloss Wilanów, Münster, Museum für Lackkunst, 2005, p. 213-223

€ 2.500 – 3.500

89 A L O U I S X I V E B O N Y, P E W T E R A N D B R A S S BOULLE MARQUETRY DESK SUPERSTRUCTURE Late 17th century Of typical inverted breakfront shape inlaid overall to top front and sides with scrolling arabesques, husked trails and acanthus scrolls raised on six pineapple feet. 22 cm high x 115 cm wide x 23,5 cm deep

€ 2.000 – 3.000 A comparable superstructure with its original bureau can be found in the Musée des Arts Décoratifs, Paris.

90 A F L E M I S H L A C Q U E R I N L A I D E B O N Y, B O N E , M O T H E R - O F - P E A R L A N D R O S E W O O D TA B L E CABINET ~ Antwerp, second half 17th century The top and sides inlaid with octagonal panels within rectangular spandrels decorated with variously coloured scrolling arabesques, the façade similarly decorated and fitted with an arrangement of nine drawers centred by a door enclosing three further doors. 43 cm. high x 57 cm wide x 29,5 cm deep

€ 20.000 – 30.000 With its characteristic lacquer inlay, this cabinet falls into a small group of cabinets produced in Antwerp in the second half of the 17th century. The cabinetmakers used a technique whereby they engraved ebony veneers and subsequently infilled the incisions with coloured shellac. These coloured inlays were further enhanced with small chips of white marble and mother-of-pearl. The technique is first recorded in the mid-17th century and is often confused with the Italian scagliola technique. It is very likely that the Antwerp craftsmen were in part inspired by this Italian technique but also by the Japanese Namban lacquer of the late 16th and 17th century. Cf. W. De Kesel and G. Dhont, Flemish 17th lacquer Cabinets, Oostkamp 2012. 88

91 AN ARCHITECTURAL MODEL OF A ROOF Modern 33 cm. high x 52,5 cm. wide x 24,5 cm. deep

€ 400 – 600

92 AN ARCHITECTURAL WOOD MODEL OF A CHURCH Modern 170 cm high (front & back)

€ 7.000 – 9.000

93 A DUTCH OAK, EBONY AND WALNUT CUPBOARD Mid-17th century The moulded rectangular corners above a paneled frieze and two raised paneled doors flanked and divided by ionic balusters above a further drawer applied with lion masks, the base with a pair of paneled doors above two short drawers and bun feet. 221 cm. high x 185 cm. wide x 68 cm. deep

â&#x201A;Ź 5.000 â&#x20AC;&#x201C; 7.000 50

94 A D U T C H S I LV E R N E E D L E C A S E Marked for Cornelis Hoek, Amsterdam, 1791 The cylindrical body applied with a portrait medallion of Hendrik Hooft, the lid decorated with a hound and inscription IK BYT OP MYN TYD, marked to the underside. 16 grams, 9,2 cm high

€ 800 – 1.200 Hendrik Danielszn. Hooft 1716-1794 was a highly successful merchant, banker and several times mayor of Amsterdam. He was one of the oldest members of the Dutch Patriot movement that strove for a more democratic government in the United Provinces and was influenced by the ideas of Rousseau. They were against the absolutist rule of stadtholder William V of Orange and his wife Wilhelmina of Prussia. Hooft was seen as the father figure of the movement.

95 A D U T C H S I LV E R S N U F F B O X Marked for Dirk Goedhart, Amsterdam, 1793 The hinged domed lid embossed with a portrait medallion of Hendrik Hooft, the underside embossed with a dog and inscribed IK STA TE LOERE, marked to the inside rim. 81 grams, 6 cm. high x 3 cm. wide

€ 2.500 – 3.500

96 A D U T C H S I LV E R A N D MOTHER-OF-PEARL PIPE SCRAPER

Apparently unmarked, Dutch, circa 1780 With a relief portrait of Hendrik Hooft applied to the top of the scraper. 10 grams, 8 cm. high

€ 500 – 700

97 A D U T C H S I LV E R T O O T H P I C K S TA N D Marked for Johan H. Kalbfleisch, Middelburg, 1800 The pierced foliate engraved ovoid body with loop handle and blue glass liner on a spreading circular foot, marked to the side of the foot. 178 grams, 12.6 cm. high

€ 1.800 – 2.400

A D U T C H S I LV E R M I N I AT U R E I R O N O N S TA N D

A D U T C H S I LV E R M I N I AT U R E SPITTOON

Marked for Daniël van Strant, Amsterdam, 1750

Marked for Arnoldus van Geffen, Amsterdam, 1755

Marked to the body.

Marked to the rim and to the underside with broad everted rim and bulbous body applied with a scroll handle.

44 grams, 4 cm. high

€ 1.200 – 1.300

20 grams, 2.6 cm. high x 3.6 diam. cm.

€ 1.200 – 1.800

100

101

A D U T C H M I N I AT U R E B R A Z I E R

A D U T C H S I LV E R M I N I AT U R E B R A Z I E R

Marked for Frederik van Strant, Amsterdam, 1736

Marked for Arnoldus van Geffen, Amsterdam, 1730

Marked to the underside to the bowl on figural scrolling legs with turned ebony handle.

The mark to the underside of the bowl with turned ebonised handle and pad feet.

30 grams, 3,5 cm. high

18 grams, 4,3 cm. high

€ 1.000 – 1.500

€ 500 – 700

102

103

A N I TA L I A N S I LV E R D O G , B U C C E L L AT I Rome, circa 1980

A PA I R O F D U T C H S I LV E R JARDINIERES WITH BLUE GLASS LINERS

Designed as a terrier, with maker’s mark.

Haarlem, circa 2000

925/1000, 296 grams, 13 cm wide

Of oval form, on four ball feet, with blue glass liners, maker’s mark Karel Schermerhorn, Haarlem.

€ 2.800 – 3.500

First alloy, 25 cm long, 7 cm high

€ 2.000 – 3.000

104

105

A N I TA L I A N S I LV E R B O N B O N N I E R E W I T H C O V E R , B U C C E L L AT I

A PA I R O F I TA L I A N S I LV E R C A N D L E S T I C K S , B U C C E L L AT I

Rome, circa 1980

Of circular braided design, the cover decorated with fruits and leafage, with maker’s mark.

Naturalistically designed, the base with grapes, pomegranates and nuts, the stem formed as vines and with leaf candleholder, signed Mario Buccellati.

925/1000, 428 gram, 11.5 cm wide 13 cm high

925/1000, 2266 gram, 34 cm high.

€ 4.500 – 6.000

€18.000 – 22.000

106

107

A S I LV E R C H A N U K A

A N I TA L I A N S I LV E R S E V E N L I G H T CANDELABRA

20th Century

20th Century The circular base with four shaped feet, baluster stem, decorated with foliage. 925/1000, 2700 grams, 59 cm high, 47 cm wide

€ 4.000 – 5.000

On circular base and four shaped feet, the diagonally fluted stem chased and engraved with foliage, with detachable upper part. 925/1000, 3750 grams, 25 / 39 cm high, 42 cm wide

€ 3.000 – 5.000

108 A GERMAN EXTENSIVE F L AT W A R E S E R V I C E , A R T D E C O Circa 1935 The handles shaped and with line decoration, comprising of: twelve table forks, twelve table spoons, twelve table knives, eleven dessert forks, twelve dessert spoons, twelve dessert knives, eleven fish forks, twelve fish knives, eight fruit forks, eight fruit knives, twelve coffee spoons, twelve tea spoons, six oyster forks, three small meat forks, one serving spoon. 2800 grams, (144)

€ 2.000 – 3.000

109 A DUTCH FOUR PIECE TEA AND COFFEE SERVICE, VAN KEMPEN & BEGEER Utrecht, 1968 Each of melon form and on shaped feet, comprising of a ta pot, a coffee pot, a sugar pot with cover and a milk jug, on oval shaped tray with two handles, first alloy. 3157 grams including tray, 7 / 10 / 15 / 21 cm high, 54 cm wide

€ 3.000 – 5.000

110 A GEORGIAN FOUR PIECE COFFEE SERVICE, MAPIN & WEBB Birmingham, circa 1920 Of octagonal form, comprising of: a pair of coffee pots, with wooden handles and finials to the hinged lids, a sugar bowl and a milk jug, first alloy. 989 grams, 8 / 19 cm high

€ 1.200 – 1.500

111 A PA I R O F S I LV E R C A N D L E S T I C K S Marked for Arnoldus Coolhaas, Utrecht, 1747 Each engraved overall with foliate strapwork with octagonal tapering vase shaped nozzles, baluster stem and domed spreading foot, marked to foot. 316/325 grams, Each 21 cm. high

â&#x201A;Ź 10.000 â&#x20AC;&#x201C; 15.000

112 A D U T C H S I LV E R A N D S I LV E R G I LT BRAZIER Marked for Thymen Suyck, Amsterdam, 1728 With pierced trelliswork everted rim applied with scalloped shells on three scrolling feet, the body engraved with a griffin crest to one side, marked to the under side. 239 grams, 6,8 cm. high x 15,6 cm. wide

€ 1.800 – 2.400

113 A PA I R N O R T H E U R O P E A N ORMOLU TWO-LIGHT WALL APPLIQUES Third quarter 18th century Each with asymmetric scalloped shell centred foliate backplate issuing scrolling branches, minor restorations drilled for electricity. 29 cm. high

€ 1.500 – 2.000

114 A D U T C H E M B O S S E D S I LV E R S U G A R TA B L E Marked for Dirk Ates Jorritsma, Franeker, circa 1745 The cartouche shaped hinged top decorated with floral scrollwork on a baluster support with three scrolling legs heading by herms, marked to the side of the stand. 119 grams, 9,5 cm high x 14,5 cm. wide

€ 3.000 – 4.000

115 A D U T C H S I LV E R M I N I AT U R E C H A L I C E Apparently unmarked, 17th century The tapering ribbed cup engraved with stylised heart motifs and fleur-de-lys and engraved with initials GK. 22 grams, 6 cm. high

€ 1.500 – 2.000

116 A D U T C H S I LV E R M I N I AT U R E WINDMILL Marked for Arnoldus van Geffen, Amsterdam, 1730 Marked to the underside of the base with four blades to the openworked supports with perching bird finials and with robe pull. 31 grams, 6.4 cm. high

€ 600 – 800

117 A D U T C H S I LV E R M I N I AT U R E C I S T E R N A N D W A S H S TA N D Marked for Arnoldus van Geffen, Amsterdam, 1730 The cistern chased and embossed with reliefs depicting bathing nymphs above the circular bowl on spirally turned support, marked to the underside of the stand. 69 grams, 14 cm. high

€ 1.800 – 2.400

118 A D U T C H S I LV E R M I N I AT U R E T O Y O F A MAN CARRYING TO BASKETS ON A YOKE Marked for Abraham van der Hoeff, Haarlem, 1725 Marked to the underside to the base. 20 grams, 3.2 cm. high

€ 1.000 – 1.500

119 A D U T C H S I LV E R M I N I AT U R E TA P E MEASURE 19th century Indistinct marks to the body. 10 grams, 2.6 cm. high

€ 800 – 1.200

120 A D U T C H S I LV E R M I N I AT U R E T O Y O F A M A N W I T H A B I L LY G O A T Haarlem, 1725 Marked to the underside of the base with a stag. 23 grams, 7,4 cm. wide

€ 1.000 – 1.200

121 A G E R M A N S I LV E R E G G S H A P E D POMANDER Apparently unmarked, 18th century The body with two compartments and a suspension ring applied on one end. 25 grams, 5,5 cm high

€ 2.500 – 3.500

122 A D U T C H S I LV E R M I N I AT U R E T O Y O F A MAN WITH PIG ON A WHEELBARROW Marked for Johannes Adrianus van Geffen, Amsterdam, 1784 Marked to the wheelbarrow. 23 grams, 6 cm. wide

€ 1.000 – 1.500

JEWELLERY Session two: lot 123 - 288

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267

123 AN 18K WHITE GOLD AND DIAMOND RING Circa 1990 The domed ring throughout set with circular-cut diamonds, weighing circa 1.50 carats, 8.2 grams, size 53

€ 3.000 – 4.000

124 A FRENCH 18K GOLD AND DIAMOND PA R U R E , VA N C L E E F A N D A R P E L S Paris, circa 1982 Designed as circular discs linked to each other, at intervals set with circular-cut diamond set links, comprising a necklace, a bracelet and a pair of ear clips, weighing circa 2.20 carats, signed V.C.A. 82 and numbered B4331A1Q, 114 grams, 3.5/18/37 cm long (3)

â&#x201A;Ź 3.500 â&#x20AC;&#x201C; 4.500

124 Detail

125 A PA I R O F 1 8 K G O L D B R O O C H E S Circa 1950 Of flowerhead design, the stamens set with three circular-cut diamonds, weighing circa 0.60 carats, 12 gram, 2.2 cm diameter

€ 850 – 1.200

126 A PA I R O F 1 8 K G O L D , DIAMOND AND ORANGE MOONSTONE EAR PENDANTS 21st Century The oval-shaped cabochon-cut moonstone weighing circa 19.20 carats within circular-cut diamond-set surround, weighing circa 1.14 carats, 16.7 grams, 1.8 cm long (2)

€ 2.000 – 3.000

127 AN 18K GOLD, DIAMOND AND ORANGE MOONSTONE RING 21st Century The oval-shaped cabochon-cut moonstone weighing circa 29.50 carats and a circular-cut diamond-set foliate motif on the plain wide gold band, weighing circa 2.50 carats, 20.9 grams, size 55, 2 cm long

€ 3.500 - 4.500

128 AN 18K THREE FRENCH COLOUR GOLD “TUBOGAZ” RETRO B R A C E L E T, C A R T I E R Paris, circa 1940, model Cipullo The tubogaz bracelet at intervals white-pink- and yellow gold, with pink and yellow gold ball finials, respectively set with collet-set diamonds and sapphires, 82.5 grams

€ 24.000 - 28.000

129 A FRENCH 18K TWO COLOUR GOLD NECKLACE, CHRISTOFLE Paris, late 20th Century Of entwined link design, signed, 107 grams, 56 cm long

€ 4.000 - 5.000

130 A FRENCH 14K GOLD, DIAMOND, RUBY AND CORAL RABBIT BROOCH, CARTIER Paris, circa 1970 Realistically designed as a rabbit with coral-set carrot, the ears set with circular-cut diamonds, weighing circa 0.25 carats, the eye ruby-set, weighing circa 0.02 carats, 7.3 grams, 2.8 cm long, with case: signed Cartier London, Paris, New York

€ 4.000 – 5.000 67

131 AN 18K TWO COLOUR GOLD, C H A M PA G N E D I A M O N D A N D DIAMOND BAND RING 21st Century Centered by a champagne coloured circular-cut diamond weighing circa 0.77 carats, within diamond-set openwork ‘harp’ design, weighing circa 1.58 carats, 10.2 grams, 1.2 cm wide, size 56

€ 2.200 – 2.800

132 AN 18K FRENCH TWO COLOUR G O L D “ PA N T H E R E ” R I N G , CARTIER Paris, circa 1980 The wide ring applied with panther motif, signed and numbered 723011, 13.5 grams, 1.60 cm wide, size 57

€ 2.000 – 3.000

133 A PA I R O F 1 8 K F R E N C H T W O C O L O U R G O L D “ PA N T H E R E ” EAR CLIPS, CARTIER Paris, circa 1980 The wide hoops applied with panther motif, signed and numbered 693989, 44 grams, 3.2 cm long

€ 2.500 – 3.500

134 A N 1 8 K I TA L I A N G O L D S E R P E N T I B R A C E L E T, B V L G A R I Rome, circa 1980 - ‘Spiga’ collection The bracelet signed and numbered: 2337A1, 90.5 grams, 6 cm diameter

€ 6.000 – 8.000

135 A G O L D A N D FA N C Y Y E L L O W DIAMOND DOG BROOCH Circa 1990 Set with natural fancy yellow circular-cut diamonds, weighing circa 1.00 carats, 8.8 grams, 2.3 cm wide

€ 3.500 – 4.500

136 A N I TA L I A N 1 8 K T W O C O L O U R G O L D N E C K L A C E A N D B R A C E L E T, P O M E L L AT O Milan, circa 1990 Designed as oval links alternated by white gold bands, signed, 226 grams, 19.5 / 42.5 cm long

€ 4.500 – 5.000

137 AN 18K GOLD YELLOW AND BLUE SAPPHIRE RING England, circa 1970 Designed as five lines of callibré-cut blue sapphires flanked by two lines of callibré-cut yellow sapphires, weighing circa 1.35 carats, 9.2 grams, size 53

€ 1.900 -2.200

138 A PA I R O F G O L D , D I A M O N D AND SAPPHIRE EAR CLIPS Circa 1960 Of foliate openwork and half hoop design, set with circular-cut diamonds, weighing circa 1.80 carats and sapphires, weighing circa 0.60 carats, 20.6 grams, 2.6 cm long (2)

€ 2.000 – 3.000

139 A PA I R O F D U T C H 1 4 K G O L D E A R CLIPS, HANS APPENZELLER Amsterdam, circa 1980 Each of square shape and woven design, 12.8grams, 3.5 cm wide

€ 1.000 - 1.500

140 AN AMERICAN 18K GOLD BIRD B R O O C H , T I F FA N Y & C O New York, circa 1970 Realistically designed, the eye ruby-set, sitting on a branch, 9 grams, 3 cm long

€ 800 – 1.200

141 A FRENCH 18K GOLD RING P O S S I B LY B O U C H E R O N Paris, circa 1970 The wide gold band ring with demountable centre, with French assay marks, numbered P49016, 22.1 grams, size 52

€ 1.600 – 1.800

142 AN ANTIQUE DUTCH CORAL NECKLACE 19th Century The graduating beads tonneau-shaped, to a gold clasp, 93 grams, 67 cm long

€ 1.500 – 2.000

143 A FRENCH 18K GOLD ‘LOVE’ B R A C E L E T, C A R T I E R Paris, circa 1970 The plain gold bangle at intervals with screw design, 37.3 grams, 7 cm wide, in fitted case with screwdriver

€ 3.500 – 4.000

144 AN ANTIQUE GOLD, CORAL, DIAMOND AND TURQUOISE PENDANT Circa 1890 The linked necklet alternated by four coral beads, with hand-shaped coral pendant, carrying a dagger, the gold cuff with old-cut diamond and turquoise detail, 5.7 grams, 2.2 cm/36.5 cm long

€ 700 – 900

145 AN ANTIQUE CORAL SNAKE BRACELET Late 19th Century Realistically designed as a flexible graduating line of carved coral links, to a metal cord, 28.2 grams, 6.8 cm wide

€ 1.000 – 1.200

146 A P I N K G O L D A N D R U B Y S P R AY BROOCH, RETRO Circa 1945 Of foliate and spray design, set with an entwined band of circular-cut diamonds, weighing circa 0.28 carats, and the finials with circular-cut rubies, weighing circa 0.40 carats, with maker’s mark, 19.7 grams, 5 cm wide

€ 1.500 – 2.000

147 A GOLD, DIAMOND AND RUBY CLUSTER RING, BELLE EPOQUE Circa 1915 Centered by an oval-cut ruby weighing 1.38 carats of Burma origin within old-cut diamond border, totalling circa 0.90 carats, to a later plain gold band with shaped shoulders, 4.5 grams, size 54. With certificate GCS London 23-02-2016 stating the 1.38 carats ruby of natural colour is of Burma -Myranmar- origin and no signs of heating

€ 10.000 – 12.000

148 AN 18K GOLD BRACELET Circa 1970 Designed as wide woven openwork discs alternated by flat links, 88.1 gram, 18.5 cm long

€ 2.000 – 3.000

149 AN 18K GOLD AND DIAMOND PENDANT 20th Century The heart-cut pendant weighing circa 1.50 carats in plain gold mount, 1.7 grams, 1.9 cm long

€ 2.000 – 2.500

150

151

A T I TA N I U M A N D D I A M O N D R I N G

A N I TA L I A N 1 8 K P I N K G O L D A N D CERAMIC RING, BVLGARI

21st Century

Rome, circa 2000 Designed as an openwork flowerhead centered by a cluster of circular-cut diamonds, the leaves with diamond detail, weighing circa 0.25 carats, size 53

€ 950 – 1.200

Model Bzero1, signed, 9.1 grams, size 55

€ 900 – 1.100

152 A PA I R O F I TA L I A N 1 8 K G O L D , F I R E O PA L A N D O N Y X EAR PENDANTS 21stcentury The fire opals of square form, measuring 13x13 mm, within black enamel border, with pear-shaped onyx pendants, measuring 32x19 mm, by Antonio Vaccari, 51.4 grams, 5.8 cm long (2)

€ 4.800 – 5.500

153 A N 1 8 K G O L D B R A C E L E T, R E T R O Circa 1940 The wide geometrically designed bracelet weighing 167.5 grams, 4.2 cm wide, 18.5 cm long

€ 13.000 - 15.000

154 A 14K GOLD AND DIAMOND CROSS PENDANT Circa 1970 The circular-cut diamonds claw-set, weighing circa 1.75 carats, 16.5 grams, 5.5 cm long

€ 1.000 – 1.500

155 A N I TA L I A N 1 8 K G O L D , DIAMOND, JADE AND E N A M E L R I N G , C A S S AT O Rome, 21st Century Centered by a sugar loaf pale green jade within circular-cut diamond border to a wide black enamelled band ring, circa 0.25 carats, signed: Cassato, 14 grams, size 53

€ 1.500 – 2.000

156 A N I TA L I A N 1 8 K P I N K G O L D A N D J E T N E C K L A C E , P O M E L L AT O Milan, circa 2000 The graduating links of shaped oval form, with long hexagonal jet pendant in gold mounts, signed, 53 grams, 68 cm

â&#x201A;Ź 3.000 â&#x20AC;&#x201C; 4.000

157 AN 18K WHITE-GOLD AND S A P P H I R E L I N E B R A C E L E T, ART DECO Circa 1925 The flexible bracelet set with callibé-cut sapphires, weighing circa 3.40 carats, 16.7 grams, 19 cm long

€4.000 – 5.000

158 A FRENCH 18K WHITE GOLD AND DIAMOND AND RING, PIAGET Paris, circa 1990, model Miss Prottocole Set with circular-cut diamonds, the front shaped as a buckle, circa 1.50 carats, 14.8 grams, numbered E39902, size 53

€ 4.000 – 5.000

159 AN 18K WHITE GOLD AND D I A M O N D S P R AY B R O O C H Circa 1960 Centered by a cluster of circular-cut diamonds, the spray at intervals set with circular-cut diamonds, weighing circa 1.06 carats, 12.3 grams, 4.2 cm diameter

€ 1.000 – 1.500

160 A PA I R O F 1 8 K W H I T E G O L D A N D DIAMOND EAR HOOPS 21st Century The front of the hoops set with circular-cut diamonds, circa 0.70 carats, 10.4 gram, 1.6 cm (2)

€ 1.900 – 2.400

161 A DUTCH WHITE GOLD, DIAMOND AND LAPIS LAZULI BROOCH, REGGERS, ART DECO, Amsterdam, circa 1920 Designed as a rectangular faceted bar with an applied openwork diamond-set detail, applied by a collet-set old-cut diamond and with diamond-set finials, weighing circa 0.20 carats, with maker’s mark: Gebroeders Reggers, 5.4 gram, 4.8 cm long

€ 2.000 - 2.500

162 A S W E E T W AT E R P E A R L N E C K L A C E A N D A PA I R O F P E N D A N T S W I T H 1 8 K G O L D A N D G E M - S E T C L A S P, S T E LT M A N The Hague, circa 1980 The multi-strand pearl necklace at intervals set with an emerald, sapphire and gold bead, to a diamond-sapphire- and emerald-set clasp, and a pair gold and pearl pendants, with maker’s mark Steltman, 2.5/49.5 cm long (3)

€ 800 – 1.200

163 A GOLD, DIAMOND AND SYNTHETIC SAPPHIRE RING 20th Century Centered by an oval-cut synthetic sapphire, weighing circa 6 carats, flanked by princess-cut and triangle-cut diamonds, weighing circa 0.80 carats, 8.9 grams, size 65

€ 2.200 – 2.400

164 AN 18K GOLD AND ENAMEL BROOCH, MAUBOUSSIN Paris, circa 1970 Of double crescent design, blue and green enamel checkered pattern to a white enamelled ground, signed Mauboussin Paris 18K, 23.1 grams, 4 cm long

€ 1.300 – 1.500

165 AN 18K WHITE GOLD, DIAMOND AND SAPPHIRE BAR BROOCH 20th Century Designed as a line of callibré-cut sapphires, weighing circa 0.90 carats, alternated by a line of circular-cut diamonds, weighing circa 0.40 carats diamonds, 3.9 gram, 6 cm long

€ 450 – 550

166 AN 18K SWISS GOLD LADY’S W R I S T W AT C H , J A E G E R L E C O U LT R E Génève, circa 1950 The rectangular watch integrated within a linked bracelet, signed Jaeger LeCoultre and numbered 417724, gross weight 90 grams, 18 cm long

€ 5.500 - € 7.500

167 AN 18K GOLD AND DIAMOND BROOCH Circa 1980 Of openwork foliate design, the circular-cut diamonds collet-set, circa 0.50 carats, 5.1 grams, 5.5 cm

€ 1.000 – 1.500

168 A N 1 8 K G O L D S E A S TA R B R O O C H 21st Century Applied with collet-set circular-cut diamonds, circa 0.20 carats and rubies, 15.4 grams, 4 cm wide

€ 1.600 - 2.000

169

170

THREE GOLD, DIAMOND AND BLACK ENAMEL BROOCHES ZEBRA, GIRAFFE AND LEAF

A PA I R O F F R E N C H 1 8 K G O L D EAR CLIPS, CHANEL Paris, circa 1970

Circa 1980 Of typical realistic design, partly black enamelled, each with diamond detail, 20 grams, 4.2/6/10.2 cm long

€ 250 - 300

Shaped as wide half loops with foliate design, signed and numbered 1A921, 19 grams, 22 cm long (2)

€ 2.400 – 3.000

171 A G O L D , B L A C K O P A L , R U B Y, EMERALD AND SAPPHIRE RING Circa 1970 The black opal of oval form weighing circa 4.50 carats, surrounded by a border of cabochon-cut rubies- emeralds- and sapphires, each weighing circa 0.30 carats, to a plain gold band, 5.9 grams, size 53

€ 6.500 – 8.500

172 A FRENCH 18K GOLD NECKLACE AND BRACELET Circa 1990 Each plain link alternated by a link of entwined rope design and a matching bracelet, with French assay marks, 100 grams, 20/80 cm long

€ 2.500 – 3.500

173 AN

I TA L I A N 1 8 K G O L D W R I S T W AT C H P O M E L L AT O Milan, circa 1980

The circular-shaped blue enamelled dial signed and set with four single-cut diamonds,to an integrated gold clip band, water resistant movement, 96.3 grams

€ 1.500 – 2.500

174 A PA I R O F 1 8 K G O L D A N D L A P I S LAZULI CUFF-LINKS 21st Century The doomed and oval-cut lapis lazuli centered by a cabochon-cut sapphire, to plain gold mounts,9 grams, 2 cm long

€ 600 – 800

175 A SWISS GOLD AND DIAMOND ‘ G O L F ’ W R I S T W AT C H , F. M . D U R O Y Génève, circa 1970 The circular dial shaped as a golf ball, the bezel set with single-cut diamonds, dial signed, quartz movement, date adjustment, seconds, with diamond-set golf club, black leather strap, 34 mm

€ 1.300 – 1.500

176

177

A FRENCH 18K GOLD WRIST W AT C H , C A R T I E R

AN 18K SWISS GOLD AND D I A M O N D L A D Y S W R I S T W AT C H , ROLEX

Paris, circa 1980

Génève, circa 1979 Model “Louis Cartier”, with date and moonphase, Swiss quartz movement, gold clip, signed, ‘leather strap, fitted case

Oyster Perpetual Datejust, with single-cut diamond-set numerals, the bezel set with single-cut diamonds to an integrated 18K gold band, signed Rolex, (later glass), 66.9 grams, 17 cm long

€ 3.500 – 4.500

€ 2.500 – 3.500

178 A PA I R O F F R E N C H 1 8 K G O L D CUFF-LINKS, CARTIER Paris, circa 1970 Of half hoop and inflexible linked design, signed with maker’s mark and numbered: PII3721 and RM3721, 15 grams, 22 mm wide, with case signed Cartier (2)

€ 1.600 – 1.800

179 A DANISH 18K WHITE GOLD WRIST W AT C H , J U L E S J Ü R G E N S E N Copenhagen, circa 1950 The circular watch with silvered dial signed, automatic movement, 29 mm

€ 1.000 – 1.200

180

181

A FRENCH 18K GOLD WRIST W AT C H , C A R T I E R

AN AMERICAN 10K GOLD WRIST W AT C H , H A M I LT O N

Paris, circa 1965

United States, circa 1957

Small model “Louis Cartier”, Swiss handwinding movement, with gold clip, signed, leather strap

The triangle-shaped watch, reference Hamilton Electric, PACER-Model 500, the black dial signed Hamilton Electric, with black leather strap, 3.6 cm

€ 3.500 – 4.500

€ 1.500 - € 1.800

182 A PA I R O F 1 8 K G O L D A N D CARNEOL CUFF-LINKS 21st Century The cabochon-cut carneol within ribbed gold border, to a plain mount with carneol detail11 grams, 2 cm long

€ 600 - 800

183 A SWISS 18K GOLD LADY S WRIST W AT C H , P I A G E T Génève, circa 1970 The black circular shaped dial with integrated flexible linked gold band, Swiss quartz water resistant movement, signed and numbered 761C701/358652, 102 grams, 16.8 cm long. (service recommended)

€ 2.000 – 3.000

184 A SWISS 18K GOLD LADY S WRIST W AT C H , P I A G E T Génève, circa 1970 The black oval shaped dial with baton numerals, the dial flanked by a line of circular-cut diamonds, weighing circa 1.35 carats, to an integrated white gold band, Swiss movement, signed and numbered 9804A34/299309, 61 grams, 16 cm long. (service recommended)

€ 2.000 – 3.000

185 A SWISS 18K GOLD LADY S WRIST W AT C H , L . U . C H O PA R D Génève, circa 1970 The gilt circular shaped dial to an integrated band, Swiss movement, signed, 46.8 grams, 16 cm long. (service recommended)

€ 1.500 – 2.500

186 A SWISS 18K SWISS LADY’S WRIST W AT C H , R O L E X Génève, circa 1980 Oyster perpetual Datejust, to an integrated band, signed, 69.6 grams, 16 cm wide. (service recommended)

€ 2.500 – 3.000

187 A DUTCH 18K GOLD, DIAMOND AND EMERALD NECKLACE, S T E LT M A N The Hague, Circa 1980 The wide linked necklace centered by a step-cut emerald, weighing circa 3.00 carats, flanked by a band of callibré-cut diamonds, weighing circa 1.50 carats, 82 grams, 43.5 cm long

€ 6.000 – 8.000

188

189

A PA I R O F D U T C H 1 8 K G O L D , DIAMOND AND EMERALD EAR C L I P S , S T E LT M A N

A DUTCH 18K GOLD, DIAMOND A N D E M E R A L D R I N G , S T E LT M A N The Hague, circa 1980

The Hague, circa 1980

Each step-cut emerald weighing circa 1.50 carats, surmounted by a tapering line of step-cut diamonds, weighing circa 0.50 carats, 7 grams, 1.7 cm long (2)

Centered by a step-cut emerald, weighing circa 3.00 carats, flanked by a tapering line of step-cut diamonds, weighing circa 1.80 carats, in white-gold mount to a yellow gold band, with maker’s mark ABH, 8.8 gram, size 53

€ 2.500 – 3.500

€ 5.000 – 7.000

190 A FRENCH 18K PINK GOLD L A D Y ’ S W R I S T W AT C H C A R T I E R , J A E G E R L E C O U LT R E M O V E M E N T Paris, circa 1960 The linked bracelet centered by a square-shaped watch, signed Cartier, with Swiss Jaeger LeCoutre movement, 76 grams, case numbered 552695/5412

€ 9.000 – 11.000

191 A WHITE GOLD, DIAMOND, E M E R A L D A N D B L U E T O PA Z C O C K TA I L R I N G Circa 1970 Of cluster form, centered by a blue topaz, within circular-cut diamond and emerald surround, 11 grams, size 53

€ 900 – 1.100

192 AN 18K GOLD AND DIAMOND NECKLACE Circa 1980 Of entwined design, the front with openwork circular-cut diamond-set links, weighing circa 0.30 carats, 84.7 grams, 42 cm long

€ 2.000 – 2.500

193 A PA I R O F T W O C O L O U R G O L D AND DIAMOND EAR STUDS Circa 1990 Of half hoop design, ‘Day and Night’, à double usage, centered by a circular-cut diamond, the loop flanked by a line of circular-cut diamonds, weighing circa 0.80 carats, respectively plain gold loops, 34.4 grams 1.9 cm long (4)

€ 2.000 - 2.500

194 A PA I R O F 1 8 K G O L D A N D D I A M O N D R I N G A N D A PA I R O F EAR CLIPS Circa 1980 The ring of loop shape with diagonal circular-cut diamond detail and a pair of matching ear clips, circa 0.50 carats, 14.2 grams, size 53

€ 800 – 1.200

195 A DUTCH 18K GOLD AND D I A M O N D B R A C E L E T, S T E L T M A N The Hague, circa 1980 Designed as rectangular links set with circular-cut diamond diabolo-shaped motifs, weighing circa 1.50 carats, with maker’s mark, 59.9 grams, 18.5 cm long

€ 2.000 – 3.000

196 A GOLD, DIAMOND YELLOW AND BLUE SAPPHIRE RING Circa 1970 Centered by a heart-cut yellow sapphire weighing circa 0.75 carats and a blue sapphire, weighing circa 05.0 carats, to diamond-set shoulders, in white- respectively yellow gold to a gold band, 6.9 grams, size 54

€ 1.200 – 1.400

197 AN 18K DUTCH GOLD RING AND A PA I R O F M AT C H I N G E A R C L I P S , S T E LT M A N The Hague, circa 1980 The ring centered by a circular-cut diamond motif to a wide gold band; and a pair of diamond ear clips, diamonds weighing circa 0.90 carat, 21.8 grams, size 53, 1.9 cm long

€ 1.500 - 2.000

198 A SWISS 18K GOLD AND DIAMOND N E C K L A C E C H O PA R D “HAPPY DIAMONDS” Génève, circa 1980 The front designed as a circular-cut diamond-set heart with flexible moving collet-set diamonds, to a diamond-set link centered by a heartcut diamond, weighing circa 2.00 carats and an integrated linked necklace, signed, 125.4 grams, 40 cm long

€ 4.800 - 5.500

199 AN 18K GOLD AND DIAMOND B R A C E L E T, R E T R O Circa 1950 Of woven design, with buckle-shaped clasp, applied with a collet-set old-cut diamond, weighing circa 0.50 carats, suspending a gold tassel with diamond detail, weighing circa 0.30 carats, 42.3 grams, 16.5 cm long

€ 2.800 – 3.500

200 A D U T C H S I LV E R A N D E N A M E L BIRD BROOCH, CORNEILLE Circa 1988 The bird multi colour enamelled, 111 gram, 11 cm wide, signed and dated 1988, in fitted case: Koninklijke Begeer, Zoetermeer

€ 2.800 – 3.000

201 A PA I R O F D U T C H 1 4 K G O L D E A R CLIPS, HANS APPENZELLER Amsterdam, circa 1980 Designed as square openwork motifs, 9.7 grams, 2 cm wide

€ 800 – 1.200

202 A D A N I S H S I LV E R B R A C E L E T GEORG JENSEN Copenhagen, circa 1970 Designed as six openwork foliate links, signed, 925/1000, 124.4 grams, 21.5 cm long

€ 1.600 – 2.000

203 A D U T C H S I LV E R B A N G L E , A N E C K L A C E A N D A PA I R O F E A R CLIPS, HANS APPENZELLER Amsterdam, circa 1980 The wide bangle with woven pattern and a pair of matching circular-shaped ear clips; and a linked necklace, 122 grams, 3.2 cm diameter / 4 cm wide / 46.5 cm long (4)

€ 1.000 – 1.500

204

205

A PA I R O F I TA L I A N 1 8 K W H I T E GOLD EARCLIPS, BVLGARI

A N I TA L I A N 1 8 K W H I T E G O L D RING BVLGARI

Rome, circa 2000

Model Bzero1, 14,6 grams, 1.8 cm wide (2)

Model Bzero01, 11.1 gram, size 56

€ 1.250 – 1.500

€ 750 – 950

206 A F R E N C H S I L V E R B R A C E L E T, HERMÈS Paris, circa 1980 Of gourmette linked design, the clasp shaped as a buckle, 925/1000, 116.5 grams, 22 cm

€ 1.200 - 1.500

100

207 AN 18K FRENCH GOLD, DIAMOND AND TURQUOISE BIRD BROOCH, MAUBOUSSIN Paris, circa 1950 Of openwork foliate form, set with a cabochon-cut turquoise weighing circa 1.00 carats and circular-cut diamond detail, weighing circa 0.20 carats, signed Mauboussin, 9.4 grms, 5 cm wide

€ 1.200 – 1.500

101

208

209

AN ANTIQUE DIAMOND AND TURQUOISE RING, BELLE EPOQUE

AN ANTIQUE GOLD, DIAMOND AND TURQUOISE BROOCH

Circa 1895

Circa 1890

Centered by an oval-cut turquoise flanked by three old-cut diamonds at each side, circa 1.20 carats, 3 grams, size 56, the band engraved: T. Ristram, fitted case: W. Pearsall Birmingham

Of cluster form, centered by an old-cut diamond, weighing circa 0.30 carat in diamond border, to a cluster of cabochon-cut turquoises, alternated by rose-cut diamond, 5.9 grams, 2.3 cm diameter

€ 800 – 1.200

€ 1.000 – 1.200

210 AN ANTIQUE GOLD AND PEARL NECKLACE Circa 1890 Each circular-shaped link centered by a natural pearl and at intervals set with a pearl-set flowerhead, 25.8 grams, 42 cm long

€ 1.000 – 1.500

211 A PA I R O F W H I T E G O L D , D I A M O N D , B L U E T O PA Z AND QUARTZ EAR CLIPS 21st Century Of cluster form, centered by an oval cabochon-cut pale blue quartz, surrounded by oval-cut blue topaz and circular-cut diamonds, 8.6 grams, 2 cm long (2)

€ 700 – 900

102

212 AN INDIAN GOLD, RUBY AND EMERALD NECKLACE 20th Century In Moghul style, set with cabochon-cut rubies and emeralds, flanked by a seed pearl border, suspending a cluster-shaped white sapphire and ruby pendant with pearl detail, 41.5 grams, 36.5 cm long.

€ 600 – 800

213 AN ANTIQUE 18K GOLD AND DIAMOND SNAKE BRACELET France, late 19th Century Realistically shaped, of flexible woven design, the head set with an oval old-cut diamond, weighing circa 2.00 carats, 79 grams

€ 19.000 – 24.000

103

214 AN ANTIQUE GOLD, D I A M O N D A N D C R Y S TA L P E N D A N T, B E L L E E P O Q U E Circa 1890 The heart-shaped memorial pendant centered by rock crystal with old-cut diamond-set border and diamond loop, the gold mounts engraved: 15 dec. 98. / 29 aug. 99. / May 5 & 8. 1901, 7.9 grams, 3.5 cm long. In fitted leather case: Hunt & Roskell London, inscribed: “My heart doth plead that thou in him dost lie a closet never pierced with crystal eyes”

€ 1.200 – 1.500

215 A WHITE GOLD, DIAMOND AND S TA R S A P P H I R E R I N G 20th Century Centered by a cabochon-cut grey blue star sapphire, weighing circa 5.00 carats, to a white gold band with diamond-set shoulders, 5.7 grams, size 52

€ 3.500 – 4.500 104

216 A S W I S S P L AT I N U M A N D DIAMOND ART DECO WRIST W AT C H , V U L C A I N Génève, circa 1925 The rectangular shaped dial signed, Swiss handwinding movement, the bezel and the platinum loops set with single-cut diamonds, black textile strap, 19.5 cm long

€ 1.800 – € 2.200

217 A WHITE GOLD AND DIAMOND S P R AY B R O O C H Circa 1960 Of shaped foliate design set with step-, navette- and circular-cut diamonds, weighing circa 4.50 carats, 21.3 grams, 5.5 cm long

€ 2.500 – 3.500

218 AN 18K WHITE GOLD, DIAMOND AND RUBY BAND RING 21st Century Centered by a circular-cut ruby weighing circa 1.16 carats, within openwork diamond-set ‘harp’ design, weighing circa 0.80 carats, sapphire detail, weighing circa 0.16 carats, 10.2 grams, 1.2 cm wide, size 56

€ 2.200 – 2.800

105

219 A PA I R O F A M E R I C A N 1 8 K W H I T E GOLD, DIAMOND AND RUBY EAR CLIPS, NEIMAN MARCUS New York, circa 1990 Shaped as a sapphire-set flowerhead, weighing circa 2.10 carats flanked by circular-cut diamonds, weighing 0.20 carats, the centre with ruby-, weighing circa 0.25 carats, and diamond-set cluster, weighing circa 0.10 carats, signed Neiman Marcus, 16.2 grams, 2.7 cm diameter (2)

€ 10.000 - 12.000

220 A PA I R O F G O L D , D I A M O N D A N D ONYX CUFF-LINKS, ART DECO Circa 1925 The double circular shaped cuff-links respectively centered by an old-cut diamond within star shaped surround, respectively centered by a line of diamonds, 8.3 grams, 1.1 cm diameter 3 cm long (2)

€ 550 – 650

221 AN 18K WHITE GOLD AND DIAMOND BRACELET Circa 1960 The wide band at intervals set with three circular-cut diamonds each weighing circa 0.50 carats within circular-cut diamond-set surround, weighing circa 8.00 carats, total weight circa 9.50 carats, 36.1 gram, 17 cm long

€ 17.000 – 22.000 106

222 A PA I R O F P L AT I N U M , D I A M O N D AND SAPPHIRE EAR CLIPS Circa 1990 Each of crescent form, set with oval-cut sapphires, weighing circa 12.00 carats and circular-cut diamond detail, weighing circa 3.00 carats, 16.4 grams, 2.5 cm wide

€ 9.500 - 12.000

223 A BELGIAN WHITE GOLD AND DIAMOND DOUBLE CLIP BROOCH, ART DECO, WOLFFERS Brussels, circa 1935 Of foliate openwork and spray design, set with old-cut diamonds weighing circa 2.50 carats, with maker’s mark: Wolfers Frères, Bruxelles, 20.5 grams, 3.8 cm wide

€ 3.000 – 4.000

107

224 A P L AT I N U M A N D S I N G L E S T O N E DIAMOND RING Circa 1960 Centered by a step-cut diamond weighing circa 1.86 carats, to a plain white gold band, 18.4 grams, size 47. With certificate HRD stating the weight of the diamond is 1.86 carats, E colour and SI1 clarity.

€ 12.000 - 15.000

225 A P L AT I N U M A N D D I A M O N D BRACELET Circa 1990 The finely made wide flexible bracelet throughout claw-set with circular-cut diamonds, weighing circa 30 carats, 74.6 grams, 17.5 cm long

€ 42.000 – 48.000

108

226 AN 18K WHITE GOLD BAND RING Circa 1990 The wide gold band centered by a line of step-cut diamonds flanked by lines of circular-cut diamonds, weighing circa 2.50 carats, 17.7 grams, size 54

€ 7.000 – 8.000

227 AN 18K WHITE GOLD DIAMOND, RUBY AND GREY SOUTH SEA PEARL RING Circa 1990 The pearl, measuring circa 9 mm, within ruby surround, weighing circa 0.50 carats to a plain white gold band, 17.3 grams, size 52

€ 800 – 900

228 AN 18K WHITE GOLD DIAMOND, RUBY AND GREY SOUTH SEA PEARL PENDANT Circa 1990 The pearl, measuring circa 8.5 mm within ruby surround, weighing circa 0.50 carats, the white gold loop set with circular-cut diamonds, weighing circa 0.20 carats, 10.2 grams, 2.2cm wide

€ 800 – 900

109

229 A SWISS 18K WHITE GOLD AND DIAMOND NECKLACE, MEISTER Zürich, circa 1990 Set with circular-cut diamonds to a fine flexible rectangular-linked white gold necklace, weighing circa 11.40 carats, signed, 30.7 grams, 39.5 cm long

€ 6.500 – 8.500

230

231

AN 18K WHITE GOLD, C H A M PA G N E D I A M O N D A N D DIAMOND BAND RING

A PA I R O F W H I T E G O L D D I A M O N D A N D C U LT U R E D PEARL EAR PENDANTS

21st Century

Circa 1960

Centered by a champagne coloured circular-cut diamond weighing circa 0.77 carats, within openwork diamond-set ‘harp’ design, weighing circa 1.59 carats, 10.2 grams, 1.2 c wide, size 56

Of openwork foliate design set with circular-cut diamonds, weighing circa 1.50 carats, suspending a white- respectively a black cultured South Sea pearl measuring circa 8.5 mm, 12.6 grams, 4.5 cm long, with case (2)

€ 2.200 – 2.800

€ 2.000 – 3.000

110

232 A M U LT I - S T R A N D 1 8 K G O L D A N D DIAMOND NECKLACE Circa 1990 The linked necklace at intervals collet-set with circular-cut diamonds, weighing circa 2.00 carats, 111.7 gram, 38.5 cm long

â&#x201A;Ź 5.500 - 7.000

111

233 A PA I R O F G O L D S I N G L E DIAMOND EAR STUDS 21st Century The circular-cut diamond weighing circa 0.95 carats respectively 0.97 carats, mounted in gold, 4.2 grams

€ 4.500 – 5.500

234 AN 18K GOLD AND DIAMOND BAND RING Circa 1980 The domed ring throughout set with circular-cut diamonds, to a wide plain band, circa 2.50 carats, 7.7 grams, size 53

€ 1.500 – 2.000

235 A PA I R O F 1 8 K G O L D A N D DIAMOND EAR CLIPS Circa 1980 Of pear shape, set with circular-cut diamonds, circa 1.80 carats, 9.7 grams, 1.9 cm long (2)

€ 1.200- 1.500

112

236 A PA I R O F A S S C H E R - C U T DIAMONDS IN 18K WHITE GOLD BVLGARI EAR PENDANT MOUNTS Circa 1970 The Asscher-cut diamonds weighing 1.01 carat respectively 1.04 carat, mounted by Bvlgari to ear pendants, signed and numbered: 1970 AL/35618, 2.8 grams. With Anchorcert Birmingham certificate dated 29-09-2014, numbered 20019625 stating 1.01 carat Asscher-cut F-VVS1 and 1.04 carat Asscher-cut G-VS1, fitted case and box (2)

€ 13.000 – 15.000

237 A P L AT I N U M A N D D I A M O N D R I N G ART DECO Circa 1925 Designed as a finely openwork and old-cut diamond-set plaque, to diamond-set shoulders, weighing circa 1.25 carats, 5.1 grams, size 54

€ 2.200 – 2.600

113

238 A PA I R O F W H I T E - G O L D A N D DIAMOND EARCLIPS Circa 1960 Of spray design, throughout set with single-cut diamonds and baguette-cut diamonds, weighing circa 0.85 carats, 13. 8 grams, 2.3 cm wide (2)

€ 2.500 – 3.000

239 AN 18K WHITE GOLD, DIAMOND AND ENAMEL ART DECO B R A C E L E T, C A R T I E R New York 1925 Designed as turquoise and black enamel discs alternated by single-cut diamond-set linesto a tonneau shaped diamond-set clasp with turquoise and black enamel lines, with case signed: Cartier London, Paris, New York, 25.1 grams, 18.5 cm long

€ 32.000 – 35.000

114

240 A D U T C H 1 4 K G O L D , S I LV E R A N D ROSE-CUT DIAMOND BROOCH 20th Century The cluster-shaped brooch centered by a large rose-cut diamond, within rose-cut diamond-set surround, to an openwork diamond-set border, 10.3 grams, 2.6 cm wide

€ 800 - 1.000

241 A GREY SOUTH SEA PEARL NECKLACE WITH WHITE GOLD CLASP 21st Century The slightly graduating necklace composed of thirty-one south sea pearls measuring 11.2 to 13.8 mm to a satin white gold ball-shaped clasp, 104.4 grams, 42 cm long

€ 4.000 – 4.500

115

242 A GOLD, DIAMOND AND PERIDOT RING 20th Century Centered by a brilliant-cut peridot, weighing circa 3.50 carats, in octagonal mount, the shoulders circular-cut diamond-set, weighing circa 0.25 carats, to a plain white gold band, 9.4 grams, size 56

€ 1.500 – 1.800

243 A GOLD, ENAMEL, DIAMOND AND P E A R L P E N D A N T, A R T N O U V E A U Circa 1915 Of openwork foliate design, mother-of-pearl enamel colors, set with natural pearls and old-cut diamonds, with an angel-skin coral and two baroque pearl pendants, to a gold necklet, 7.7 grams, 4.7/42 cm long. The enamel shows signs of wear

€ 2.800 – 3.500

244 A N A N T I Q U E S I LV E R - G I LT E N A M E L SCARABEE BROOCH Circa 1870 Egyptian revival style, centered by the oval carved model of a scarabee, the wings with translucent blue and green enamel, 800/1000, 3.2 grams, 3.5 cm long, with case

€ 400 – 500

116

245 A SINGLE STONE DIAMOND IN FRENCH 18K GOLD RING, CARTIER Paris, 20th century Centered by an old-cut diamond weighing 3.01 carats, mounted in a plain wide gold band ring, signed Cartier, 18.9 grams, size 56/57

€ 13.000 – 15.000

246 A N 1 8 K I TA L I A N G O L D N E C K L A C E A N D B R A C E L E T, C H I M E N T O Grisignano di Zocco, circa 1990 Of wide openwork link design, with matching bracelet, 154 gram, 20/46.5 cm long

€ 3.000 – 4.000

117

247 A PA I R O F S I N G L E D I A M O N D E A R STUDS IN 18K GOLD MOUNTS 20th Century The old-cut diamonds weighing respectively 2.68 carats and 2.82 carats, 6.9 grams, 0.9 cm diameter

€ 16.000 – 20.000

248 A FRENCH 18K GOLD AND TURQUOISE TURTLE BROOCH, CARTIER Paris, circa 1970 Realistically designed as a turtle, the body claw-set with circular-cut turquoise, the eyes sapphire-set, signed, 13.2 grams, 3.5 cm long

€ 3.500 – 4.500

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249 A GOLD, DIAMOND AND ENAMEL J O C K E Y P E N D A N T, A R T D E C O Circa 1925 The old-cut diamond-set horse in full gallop an enamelled jockey on his back, wearing a red coat, 1.7 grams, 2.8 cm long. The enamel shows signs of wear

€ 550 – 650

250 A SWISS 18K WHITE GOLD, DIAMOND AND RUBY RING, GÜBELIN Basel, circa 1960 Of lozenge form, set with step-cut rubies and diamonds of various size, weighing circa 1.90 carats and 1.70 carats ruby, signed, 9 grams, size 52

€ 2.800 – 3.200

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251 AN 18K FRENCH WHITE GOLD, DIAMOND, RUBY AND ONYX NECKLACE, CARTIER Paris, circa 1980 The onyx alternated by ruby bead necklace “Le baiser du dragon”, with openwork pendant with Diamond detail and onyx and ruby-set tassels, circa 0.80 carats diamonds, circa 8.00 carats rubies, 45.9 grams, 42 cm long ex pendant, pendant 6.5 cm long, signed fitted case, signed Cartier

€ 10.000 - 12.000

252 A P L AT I N U M A N D D I A M O N D B R A C E L E T, A R T D E C O Circa 1925 Shaped as five flexible openwork links composed of a wide rectangular link alternated by a smaller similarly shaped link, throughout set with old-cut diamonds, weighing 4.00 carats, 29 grams, 17.5 cm long

€ 8.500 – 12.000

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253 AN 18K WHITE GOLD, DIAMOND AND RUBY RING 21st Century Set with a cushion-cut ruby weighing 5.19 carats, flanked by a triangle-cut diamonds each weighing circa 0.50 carats, 9 grams, size 54. With certificate DSEF Idar-Oberstein, dated 6-12-2004, numbered 016542, stating the ruby weighs 5.19 carats, shows no heating treatment and originates from Burma.

€ 17.000 – 22.000

254 A PINK JADE AND RUBY BEAD NECKLACE First half 20th Century Graduating oval pink jade beads, alternated by faceted ruby beads to an 18K white-gold clasp, 61 grams, 46 cm long. Jade not tested, the beads show no sign of treatment

€ 3.500 – 4.500

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255 A GOLD AND AMETHYST ETERNITY RING 21st Century Set with step-cut amethyst, size 58, 3.7 grams

€ 280 – 350

256 A WHITE GOLD, DIAMOND A N D M U LT I C O L O U R S A P P H I R E BRACELET 21st Century The wide bracelet set with vari-cut and various shades of blue cabochon-cut sapphires, weighing circa 15.00 carats alternated by circular- step- tapering- and navette-cut diamonds, weighing circa 5.00 carats, 119.9 grams, 17.5 cm long

€ 13.000 – 16.000

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257 AN 18K PINK GOLD, DIAMOND, BLACK DIAMOND, PINK SAPPHIRE AND SMOKY QUARTZ FLOWER RING 21st Century Shaped as a flowerhead, the heart set with smoky quartz weighing circa 2.32 carats, and the leaves set with fading pink sapphires, weighing circa 3.80 carats, circular-cut diamonds, weighing circa 1.30 carats and black diamonds, weighing circa 0.32 carats, 20.7 grams, size 56 cm diameter, 2.5 cm

€ 4.000 – 5.000

258 A PA I R O F 1 8 K P I N K G O L D , DIAMOND, BLACK DIAMOND, PINK SAPPHIRE AND SMOKY QUARTZ FLOWER EAR PENDANTS 21st Century Shaped as a flowerhead, the heart set with smoky quartz weighing circa 1.70 carats, the leaves set with fading pink sapphires, weighing circa 2.92 carats, circular-cut diamonds, weighing circa 1.22 carats and black diamonds, weighing circa 0.19 carats, 15.5 grams, 2.1 cm diameter

€ 3.000 – 4.000

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259 AN 18K PINK GOLD, DIAMOND, ONYX RING 21st Century Centered by a square-cut onyx, weighing circa 32 carats, within circular-cut diamond-set border, weighing circa 1.02 carats, to a plain wide band, 25.5 grams, 2.7 cm wide, size 59

€ 3.000 – 4.000

260 AN 18K PINK GOLD, DIAMOND, BLACK DIAMOND, PINK SAPPHIRE AND SMOKY QUARTZ FLOWER PENDANT 21st Century Shaped as a flowerhead, the heart set with smoky quartz weighing circa 4.15 carats, and the leaves set with fading pink sapphires, weighing circa 5.91 carats, circular-cut diamonds, weighing circa 1.25 carats and black diamonds, weighing circa 0.34 carats, 22.9 grams, 3.5 cm diameter

€ 3.500 – 4.500

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261 AN 18K GOLD, DIAMOND AND EMERALD DUCK BROOCH Circa 1980 Realistically shaped, the head diamond-set and with emerald detail, 7.6 grams, 4 cm long

€ 500 – 700

262 A PA I R O F 1 8 K F R E N C H G O L D E A R CLIPS, CHRISTOFLE Paris, late 20th Century Each of half loop and entwined design, signed and numbered: 12251V, 25.7 grams, 2.2 cm long

€ 1.000 – 1.500

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263 AN ANTIQUE DUTCH 18K GOLD SAUTOIR First half 19th Century Of woven ‘snake’ design to a ball-shaped cannetille clasp, 95.9 grams, 160 cm long

€ 10.000 – 12.000

264 A G O L D , S I LV E R A N D D I A M O N D ELEPHANT PENDANT 20th Century The body set with rose-cut diamonds, ruby eye and rose-cut diamond loop, 18.3 grams, 33 mm long

€ 1.300 – 1.500

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265 AN ANTIQUE 14K GOLD, S I LV E R , E M E R A L D A N D DIAMOND PENDANT Circa 1880 and later The revival Renaissance pendant designed as an emerald pear with rose-cut diamond cap, surmounted by an old-cut diamond and a step-cut emerald, all within foliate openwork border, to a diamond-set loop, 5.1 grams, 5 cm long

€ 2.200 – 2.500

266 AN ANTIQUE 14K GOLD, S I LV E R , E M E R A L D A N D DIAMOND NECKLACE Circa 1880 The revival Renaissance necklace set with links of a graduating line of step-cut emeralds mounted against foil, within openwork foliate border, alternated by links set with table-cut diamonds, 33.5 grams, 42 cm

€ 5.500 – 7.000

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267 AN ANTIQUE 14K GOLD, S I LV E R , E M E R A L D A N D DIAMOND BRACELET Circa 1880 and later The revival Renaissance bracelet set with links of a graduating line of step-cut emeralds mounted against foil, within openwork foliate border, alternated by links set with old-cut diamonds, 19.8 grams, 18 cm long

â&#x201A;Ź 4.000 â&#x20AC;&#x201C; 5.000

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268 AN ANTIQUE GOLD AND P L A T I N U M D R A G O N F LY B R O O C H / HAIR PIN, BELLE EPOQUE Circa 1890 The gold dragonfly with flexible wings set with rose-cut diamonds in platinum, weighing circa 2.50 carats, the eyes cabochon ruby-set, with gold hairpin, the centre “en tremblant”, 20.3 grams, 5.8 cm wide

€ 9.000 – 12.000

269 AN 18K SWEDISH GOLD, SAPPHIRE AND DIAMOND RING, BELLE EPOQUE Stockholm, circa 1925 Centered by an oval-cut blue sapphire weighing 1.72 carats, of Burma origin, To a double old-cut diamond set border and a plain gold band, with Swedish assay marks and maker’s mark WAE..., 4.2 grams, size 52. With certificate GCS London, dated 23-06-2015 and numbered stating the 1.72 carat sapphire of natural colour Burma origin and no signs of heating

€ 25.000 – 30.000

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270 A N A N T I Q U E N AT U R A L P E A R L A N D DIAMOND THREE STONE RING England, circa 1890 Set with a graduating line of three natural split pearls flanked by old-cut diamonds, 4.5 grams, size 52

€ 1.200 – 1.400

271 A T H R E E S T R A N D N AT U R A L P E A R L NECKLACE WITH PEARL AND D I A M O N D C L A S P, B E L L E E P O Q U E Circa 1910 Each strand of pearls graduating in size, to a white gold cluster shaped clasp centered by a natural pearl within old-cut diamond border. With certificate Netherlands Gemnological Laboratorium Leiden, dated 24-03-2016, numbered P 5479 stating the pearls are natural, diameter 6.5 to 2.5 mm, weight necklace 27.39 grams, totalling 325 pearls. 38 cm long, fitted case

€ 15.000 - 20.000

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272 THREE WHITE GOLD SAPPHIRE, R E S P E C T I V E LY R U B Y A N D EMERALD ETERNITY RINGS Circa 1970 Each ring set with callibré-cut gemstones to a plain white-gold band, each weighing circa 2.00 carats, 2.8 grams, size 52

€ 1.800 – 2.400

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273 A PA I R O F W H I T E - G O L D , J A D E AND DIAMOND EAR PENDANTS, ART DECO Circa 1925 Each designed as a rectangular-shaped, openwork and carved jade pendant, surmounted by a line of single- and baguette-cut diamonds to a circular-cut jade plaque at the ear, screw back-side, 57 mm long. Jade not tested. Jade plaques 3.3 cm long 1.8 cm wide, 7.6 grams, with case, signed: Asprey, London (2)

€ 5.000 – 7.000

274 AN 18K WHITE GOLD AND D I A M O N D B R A C E L E T, A R T D E C O Circa 1925 Designed as three rectangular old-cut and single-cut diamond-set links, each centered by a collet-set old-cut diamond weighing circa 0.50 carats, alternated by openwork buckle-shaped diamond-set links, weighing circa 8.00 carats, 44 grams, 18.5 cm long

€ 12.000 – 15.000

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275 A P L AT I N U M , D I A M O N D A N D SAPPHIRE RING, BELLE EPOQUE Circa 1915 Of cluster design, centered by an oval-cut sapphire, weighing 1.00 carats, in old-cut diamond surround, to diamond-set shoulders, 3 grams, size 54

€ 2.400 – 2.600

276 A 14K WHITE GOLD, DIAMOND AND PEARL ART DECO BRACELET Circa 1925 Shaped as two oval links each centered by an old-cut diamond weighing circa 0.25 carat, flanked by three circular-shaped links each set with a natural pearl to a rose-cut diamond-set surround, with linked bracelet, 14.2 grams, 18.5 cm

€ 2.500 - € 3.000

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277 A P L AT I N U M , D I A M O N D A N D S A P P H I R E P E N D A N T, B E L L E EPOQUE France, early 20th century In garland style, openwork lozenge form, set with old-cut diamonds, centred by a pear-cut diamonds weighing circa 1.00 carats, the flexible pendants each weighing circa 0.25 carats, with white gold necklet, 15.1 grams, 5.8 / 43 cm long

€ 8.000 – 10.000

278 A PA I R O F 8 K E N G L I S H G O L D , BLUE ENAMEL AND PEARL CUFF LINKS, ART DECO Circa 1925 The double cuff-links set with pale blue enamel against engine-turned ground, centered by a natural pearl, 10.8 grams, 1 cm diameter 3 cm long (2)

€ 800 – 1.000

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279 A WHITE GOLD, DIAMOND AND EMERALD RING 20th Century Centered by a cushion-cut emerald weighing 4.53 carats flanked by a tapering line of three step-cut diamonds at each side, totalling circa 0.60 carats, to a plain band, 4.9 grams, size 54. With Anchorcert Birmingham certificate, dated 23-05-2014, numbered 20016366 the 4.53 carats emerald is of natural colour and Colombian origin

€ 14.000 – 18.000

280 AN ANTIQUE GOLD AND DIAMOND CRESCENT BROOCH, BELLE EPOQUE Circa 1890 Set with a graduating line of old-cut diamonds, totalling circa 3.00 carats, 5.6 grams, 3.5 cm wide

€ 3.500 – 4.000

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281 AN AMERICAN WHITE GOLD, P L AT I N U M , D I A M O N D A N D COLOURED STONE CHARM B R A C E L E T, A R T D E C O New York, circa 1925 The 14K white gold close-for-ever bracelet with fourteen platinum charms set with diamonds, rubies, sapphires, black opal, jade and pearls including a bird, a mill, a faun, a cockerel, a four-leaf clover, two crescent moons, etc., 31 grams, 19.5 cm long

â&#x201A;Ź 14.000 - 16.000

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282 A G O L D A N D P L AT I N U M D I A M O N D P E N D A N T W I T H P L AT I N U M N E C K L E T, B E L L E E P O Q U E Circa 1915 The old-cut diamond weighing circa 3.00 – 3.30 carats set in millegriffe border, surmounted by a single-cut diamond to a diamond-set loop, 3.4 grams, necklet 42 cm long

€ 8.000 – 10.000

283 A P L AT I N U M A N D D I A M O N D DOUBLE CLIP BROOCH, ART DECO Circa 1930 Each clip half lozenge-shaped, set with old-cut diamonds, centered by a line of step-cut and callibré-cut diamonds, weighing circa 9.00 carats, the mounts engraved with foliage, 7 cm wide (2)

€ 15.000 – 18.000

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284 A P L AT I N U M , D I A M O N D A N D SAPPHIRE RING, ART DECO Circa 1935 Of foliate design, centered by two old-cut diamonds each weighing circa 0.85 carats, flanked by a fan motif set with step-cut diamonds, the shoulders with typical diamond-set foliate motif, weighing circa 4.00 carats, the band with sapphire detail, 10.5 grams, size 54, 2.5cm wide

€ 6.500 – 7.500

285 A P L AT I N U M A N D D I A M O N D B R A C E L E T, A R T D E C O Circa 1925 Shaped as five flexible rectangular openwork links alternated by small links, throughout set with old-cut diamonds, weighing circa 3.00 carats, 29.9 grams, 18.5 cm long

€ 6.500 – 8.500

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286 AN 18K WHITE GOLD AND DIAMOND NECKLACE Circa 1990 Of slightly graduating link design, set with circular-cut diamonds, weighing circa 19.75 carats, 90 grams, 45 cm wide

€ 32.000 – 38.000

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287 AN 18K WHITE GOLD AND DIAMOND PLAQUE BROOCH, ART DECO Circa 1925 The rectangular-shaped partly openwork circular-cut diamond-set brooch centered by three circular-cut diamonds weighing respectively 1.13 carats, 107 carats and 1.02 carats, 13.5 grams, 5.5 cm long

€ 10.000 – 15.000

288 A PA I R O F 1 8 K W H I T E G O L D , P L AT I N U M , D I A M O N D A N D N AT U R A L P I N K D I A M O N D EAR PENDANTS 20th Century, The pear-cut diamonds, weighing 2.25 carats respectively 1.78 carats, with a border of natural fancy pink diamonds, weighing circa 0.72 carats and a border of white circular-cut diamonds, weighing circa 0.36 carats, surmounted by a circular-cut diamond weighing circa 0.50 carats and a circular-cut diamond at the ear, weighing 1.09 respectively 1.19 carats, 12.6 grams, 4.5 cm long. With certificate HRD stating the weight of the pear-cut diamonds 2.25 ct E/SI2 and 1.78 ct E/SI2 and the weight of the circular-cut diamonds is 1.09 ct F/SI2 and 1.19 ct G/SI2.

€ 48.000 – 55.000

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Art Europe Auctions MANAGEMENT Peter Paul Guthman Managing Director Roderick Preys Business & Finance Director

Art Europe Auctions KNSM-Laan 121 1019 LB Amsterdam The Netherlands

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E X P E R T L I A I S O N S & C ATA L O G U E R S

E X P E R T S - C O N S U LTA N T S - A D V I S O R S

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EXPERTS FOR “TWO” Christiaan van Rechteren Limpurg Furniture & Decorative Arts Bernadette de Bruijn Jewellery & Silver

O P E R AT I O N S & L O G I S T I C S Catrin Simons Kadir Trabelsi

CLIENT ACCOUNTS & A D M I N I S T R AT I O N Lex Hiarije Cornelly Rijs-Imanuel

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Martijn Boelen Wine Eveline Brouwers European Furniture & Ceramics

Baukje Coenen Old Master Paintings & Drawings Barbara Jonckheer Photography Annemarie van der Hoeven Old Master Paintings

Frans Leidelmeijer Design & Applied Arts

Christiaan van Rechteren Limpurg Furniture & Decorative Arts Rob Sneep Modern & Contemporary Hélène van der Ven European Paintings

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BIOGRAPHIES ANTONIO VACCARI Since 1965, is an Italian jeweler with a family history of goldsmiths going back to the 19th century. Vaccari finds inspiration in Venice, Murano glass and Venetian beads. APPENZELLER After his education at the renowned Rietveld Academie Hans Appenzeller (1949), together with Lous Martin, founded his jewellery gallery ‘Galerie Sieraad’ in Amsterdam. In 1974 he opens his own jewellery shop, wearability is of essential importance to his modern designs. BOUCHERON Frederic Boucheron opened his first jewellery salon at the Palais Royal in 1858, and soon acquired fame as an expert in precious stones, a masterful technician and a creator of beautiful jewellery. In 1893 he was the first jeweller to set up shop at the Place Vendôme, where he continued to serve the social elite, and from where the firm still operates successfully today. BULGARI Sotirio Bulgari, who was born in 1857 in Greece and hailed from a family of silversmiths, founded Bulgari. In 1884 he opened his first shop in Rome and moved in 1905 to the present location of Via dei Condottio. Sotirio’s sons are credited for creating the highly distinctive Bulgari style inspired by Greek and Roman classicism, the Italian Renaissance. The use of bold, colourful gemstones is also a recurring theme. In the 1970’s Bulgari expanded internationally and this resulted in the highly desirable brand it is today. CARTIER Cartier is known as the “King of jewelers, and jewelers to kings”, according to the British King Edward XIII who frequented its salons to buy the most iconic jewellery for his wife Wallis Simpson, the Duchess of Windsor. Since its establishment in 1847, Cartier has created and maintained a precedent in the design of innovative and aesthetically pleasing watches and jewellery. From the Santos watch to the in 1969 designed iconic Love Bracelet, they have designed the most iconic pieces (and this is not an exaggeration). It’s history is so rich, but high lights are the Tutti Frutti jewellery of the 1920s and the even older Panther jewels who were first designed in 1914, the motif is used for more than hundred years. CASATO Federico Gauttieri founded Roman jeweler Casato in 2004, and his innovative style and outgoing personality have made him a hot commodity in the ultra-competitive jewellery world. CHANEL Legendary Coco Chanel not only designed clothing but also exquisite jewellery. In the early 1930’s Chanel launched her first fine jewellery collection inspired by the constellations. These incredible designs included a fringe necklace that could also be worn as a tiara, a diamond brooch in the shape of a star, and the magnificent “Comète” necklace with a diamond star at one end and a cascade of diamonds at the other. Her collaboration with

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count Fulco di Verdura resulted in the legendary Maltese cross cuff bracelets. Also her pearl designs with white and black pearls (highly unusual for the time) were sought after. She made bold designs, never just one strand but several at the same time. Coco Chanel used jewellery to make a statement while her legendary clothing designs showed restraint. CHIMENTO Since 1964 the Chimento family has been associated with unique and exclusive creations using gold as the undisputed protagonist. Showcasing a unique mix of creativity, craftsmanship and attention to detail, Chimento’s creations have become synonym with top quality 18k gold Italian jewellery. All Chimento collections are a perfect blend of tradition and design, setting the new classic benchmarks of Italian jewellery with their elegant, refined and contemporary style. CHOPARD Founded in 1860, the Chopard watch brand rapidly gained a solid reputation Established in 1860 and taken over in 1963 by the Scheufele family, Chopard has never been anything other than an independent family firm today based in Geneva. Starting with the production of ulta-thin high-precision pocket-watches intended for daily wear with illustrious customers like Tsar Nicholas II. The brand is now one of the most prestigious high-end watches and jewellery establishments renowned for its innovative designs, technology and fine traditional craftsmanship. CHRISTOFLE Christofle is a manufacturer of fine silver flatware and home accessories based in France. It was founded in 1830, when jeweller Charles Christofle assumed management of a jewellery workshop belonging to his wife’s family. Among Christofle’s product lines are silver picture frames, crystal vases and glassware, porcelain dinnerware, and silver jewellery and hollowware. GEORG JENSEN With a history that spans more than 100 years, the Georg Jensen brand represents quality craftsmanship and timeless aesthetic design, producing lifestyle products ranging from hollowware to watches, jewellery and home products. The philosophy of Georg Jensen himself was to create democratic designs possessing both functionality and beauty. His artisanal skill and artistic talent combined with his continuous ability to identify and support design talent was the foundation on which he built Georg Jensen in Copenhagen in 1904. GÜBELIN The Swiss, family-owned House of Gübelin is known for its high-end jewellery, gemstone expertise, and as purveyors of some of today’s most sought-after luxury watch brands. Its story begins in 1854 with the opening of a small watchmaker’s shop in the Swiss city of Lucerne. Director Eduard Josef Gübelin was recognized as perhaps the most important and inﬂuential gemologist of the 20th century. He not only helped establish gemology as a science, and gave the industry one of its

most important weapons against imitations and counterfeits HAMILTON The Hamilton Watch Company was founded in the U.S.A. in 1892, Lancaster, Pennsylvania. The first wristwatch was created in 1915. One of the most famous watches Hamilton made was the Seckron in 1936. Two years later the model Otis was produced. In 1957 Hamilton launched his famous Electric Model 500, with a battery as a power source, then the asymmetric Pacer, Pulsar, Vega and Ventura. Hamilton has designed watches for railroaders, soldiers, and members of the Navy. Hamilton’s vintage designs have remained extremely popular with a resurgence of these designs being released as limited edition pieces. Today the Swiss Swatch Company owns Hamilton. HERMÈS Founded in 1837 Hermès today is synonymous with luxury and fashion, Hermès has become globally renowned and recognized. Mass production is rejected in favor of single-person manufacturing. Known to be a life-long investment, each Hermès piece – whether jewellery, watches or handbags – is a testament to family business and luxurious simplicity. JAEGER LECOULTRE Swiss Jaeger-LeCoultre is one of the most diverse and widespread luxury watch brands in the world. In 1833, Antoine LeCoultre founded a small watchmaking workshop in Le Sentier making high quality timepieces and creating industry-changing pieces such as the Reverso watch. JÜRGENSEN The story begins in the year 1745. At that time Christian VI was King of Denmark and Norway, Duke of Schleswig-Holstein, on this year a child named Jürgen Jürgensen was born, and he was to have great significance for watch making history. He was both the father of the most famous Danish watchmaker Urban Jürgensen and at the same time the founding father of the horological dynasty, which was to revolutionize the outdated structures of the clock- and watch making craft in Denmark. Through their use of new theoretical findings and practical working methods, they subsequently achieved the highest recognition both in Denmark and Switzerland. MAUBOUSSIN Mr Rocher and his cousin, Baptiste Nouri established a jewellery shop in Paris in 1827. His nephew Georges Mauboussin joined the firm, assuming control in 1896. In 1922 the business was named ‘Mauboussin, Successeur de Noury’, and later simply ‘Mauboussin’. The house of Mauboussin contributed to all major international exhibitions in the first half of the twentieth century. The elegant designs today remain in demand. The firm is located at 20, Place Vendôme. MEISTER In 1881 Goldsmith Emil Meister opened a shop for trading in jewellery and silverware. This flourished during four generations into a powerful company, represented today by three stores at top addresses

INDEX in Zurich, now selling gold and diamond jewellery, watches, silver and crystal glass objects, porcelain and renowned top quality brands. NEIMAN MARCUS Neiman Marcus, founded in 1907, is an American luxury specialty department store owned by the Neiman Marcus Group, headquartered in Dallas, Texas. Neiman Marcus sells clothing, footwear, furniture, jewellery (also designed especially for hem), beauty products and house wares. PIAGET Manufacture Piaget, was founded by Georges Edouard Piaget in 1874, in La Côte-aux-Fées at the heart of the Swiss Jura. Originally focused on the development and manufacturing of movements, Piaget began making watches under its own name in 1943, and in 1955 began to specialize in ultra-thin timepieces. Today part of the Richemont Group, Piaget boasts twenty ultra-thin manufacture movements, and its timepieces regularly set new records as the world’s thinnest simple or complicated watches. POMELLATO Milanese Pomellato began operating in 1967, introducing the concept of prêt-à-porter jewellery, the idea that jewellery is not just a status symbol but also an accessory to be worn at any moment of the day and changed like clothes. The company made its mark in chain production and also focused on colored stones. Pomellato jewels have very recognizable features, including the emphasis on rounded and tactile forms. STELTMAN Dutch based firm Steltman has been located in The Hague since 1917. In that year Johannes Steltman opened his jewellery shop ‘Joaillerie Artistique’ at Noordeinde 42a. From 1920 Steltman designed beautiful collections in his own atelier. The designs have always been of a high quality and innovative design. The Dutch elite has long favoured Steltman jewellery and watches. TIFFANY & CO This American jewellery firm was founded in 1837 by Charles Lewis Tiffany and became world renown in the early 20th century when Louis Comfort Tiffany controlled it. Tiffany & Company has been famous for not only jewellery but for magnificent designs in silver and glass and has showcased some of the world’s most famous jewellery designers including Paloma Picasso, Jean Schlumberger and Elsa Peretti. Cult status was reached with the famous Audrey Hepburn movie ‘Breakfast at Tiffany’s’. ROLEX The German businessman Hans Wilsdorf founded Rolex in 1905. Rolex has been the first in many watch innovations, such as the first waterproof wristwatch (1926) and the first automatically changing date on the dial (1946). Today, Rolex is the largest manufacturer of Swiss-made, certified chronometers and considered by many a status symbol synonymous with perfection and elegance.

ROYAL ASSCHER Royal Asscher, founded in 1858, is linked to the finest diamonds in the world. The Asscher family, a renowned international diamond dynasty, owns the Dutch company. The company has an unparalleled legacy of diamond innovation such as cutting the famous Cullinan diamond in 1908 (today set in the British crown jewels). The patent-protected Royal Asscher Cut is considered to be the most beautiful diamond cut ever created. VAN CLEEF & ARPELS Van Cleef & Arpels is a legendary French jewellery, watch, and perfume company. Alfred Van Cleef and his uncle Salomon Arpels in Paris founded it in 1896. The 1930’s saw some of the company’s most iconic designs. The house’s trademark 1933 ‘Mystery setting’ -where the mounting of the gemstones is hidden behind the continuous calibré-cut ruby and sapphire surface of the jewel. Known also for their 1950s ‘zip’ necklaces (they actually opened as a zipper), their iconic 1960s ballet jewels and in the 1970s Alhambra clover and butterfly designs, Van Cleef & Arpels’ creations adorned the nobility, jewellery collectors and celebrities. VULCAIN Swiss company Vulcain was founded in 1858 by Maurice Mitisheim, who had specialized himself in watch complications. Pocket watches where Mitisheim’s sole product in the 19th century. The company began to manufacture wristwatches in the 1920s and 1930s. The 1940s were marked by innovation, receiving numerous patents for their watch movement designs. However, it was the Vulcain Cricket mechanical alarm wristwatch introduced in 1947 that marked a turning point in the company’s history. When U.S. President Harry Truman, Dwight D. Eisenhower, Richard Nixon and Lyndon Johnson sported their Vulcain Cricket watch, it put the small watch company on the map. The popularity of Vulcain grew dramatically as a result of these U.S. presidents wearing their Crickets. WOLFERS Brussels based Wolfers has been in business since 1812. As fine jewellery makers and goldsmiths, Wolfers is one of the oldest European jewellery houses. Philippe Wolfers, a creative genius and innovator, was a known figurehead of the Brussels Art Nouveau. His exceptional works of art have defined the Wolfers bold style of elegance and beauty.

A Antonio Vaccari 153 Appenzeller 140, 202, 204 B Boucheron 142 Bulgari 135, 152, 237, 205, 206 Buccellati 104, 105 C Cartier 128, 130, 133, 134, 144, 177, 179, 181, 191, 240, ,246, 249, 251 Casato 156 Chanel 170 Chimento 247 Chopard 186, 199 Christofle 129, 263 F F.M. du Roy, 176 G Georg Jensen 203 Gübelin 251 H Hamilton 182 Hermès 207 J Jaeger LeCoultre 167, 191 Jürgensen 180 M Mapin & Webb 110 Mauboussin 165, 208 Meister 230 N Neiman Marcus 220 P Piaget 159, 184, 185 Pomellato 137, 157, 174 R Rolex 178, 187 Royal Asscher 237 S Steltman 163, 188, 189, 190, 196, 198 T Tiffany & Co 141 V Van Cleef & Arpels 123 Van Kempen & Begeer 109 Vulcain 217 W Wolfers 224

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DIAMONDS - THE 4 C’S

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CONVERSION CHART

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CONDITIONS OF BUSINESS FOR BUYERS 1. INTRODUCTION Art Europe Auctions B.V. (AEA or the Company) carries on business, including the conduct of Auctions, on the following general conditions. 2. DEFINITIONS` * Bidder is any person making, attempting or considering making a bid * Buyer is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent * Seller is the person offering a lot for sale, including their agent, or executors * AEA means Art Europe Auctions B.V. registered KNSM Laan 121, 1019 LB Amsterdam, The Netherlands * Buyer’s Expenses are any costs or expenses due to AEA from the Buyer * Buyer’s Premium is the commission payable by the Buyer on the Hammer Price at the rate set out in the Guide for Prospective Buyers * Hammer Price is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price * Purchase Price is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses. * Reserve Price is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT where applicable. 3. EXAMINATION OF LOTS AEA’s knowledge of lots is partly dependent on information provided by the Seller and AEA is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elsewhere are statements of AEA’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at AEA’s absolute discretion. 4. EXCLUSIONS AND LIMITATIONS OF LIABILITY TO BUYERS AEA shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of AEA’s Authenticity Guarantee. Subject to this neither AEA nor the Seller: *is liable for any errors or omissions in any oral or written information provided to Bidders by AEA, whether negligent or otherwise ** gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded other than the express warranties given by the Seller to the Buyer under the Conditions of Business for Sellers *** accepts responsibility to Bidders for acts or omissions by AEA in connection with the conduct of auctions or for any matter relating to the sale of any lot. Without prejudice to the above Condition any claim against AEA and/or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither AEA nor the Seller shall be liable for any indirect or consequential losses.

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5. BIDDING AT AUCTION AEA has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as AEA requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case AEA’s prior and express consent must be obtained). AEA advises Bidders to attend the auction, but AEA will endeavour to execute absentee written bids provided that they are, in AEA’s opinion, received in sufficient time and eligible form. When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to AEA’s other commitments; AEA is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. When available online bidding is offered as a free service via our website arteuropeauctions.com or via other online platforms like www.invaluable.com or www. thesaleroom.com . For further information we refer to the additional terms and conditions for online bidding published on our website. 6. IMPORT, EXPORT AND COPYRIGHT RESTRICTIONS a. AEA and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other license required by law, including licenses required under the Convention on the International Trade in Endangered Species (CITES). 7. CONDUCT OF THE AUCTION a. The auctioneer has direction to refuse bids, withdraw re-offer lots for sale (including after the fall of the hammer) if he believes that there may be an error or dispute, and may also take such other action as he reasonably deems necessary. b. The auctioneer will commence and advance the bidding in such increments as he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. c. Subject to Condition, the contract between the Buyer and the Seller is concluded on the striking of the auctioneer hammer. d. Any post-auction sale of lots shall incorporate these Conditions of Business. 8. Payment and Collection a. Unless otherwise agreed in advance, payment of the Purchase Price is due in euros immediately after the auction (the “Payment Date”) b. Title in a lot will not pass to the Buyer until AEA has received the Purchase Price in cleared funds. AEA will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price as above. c. The refusal of any license or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8a. d. On receipt of cleared funds, the buyer may collect lots from the saleroom during the auction and immediately after its completion.

(see Important Notice for Bidders and Buyers). Thereafter all purchased lots will be transferred to AEA’s appointed shippers and independent storers, details of which are printed in the auction catalogue or available on request. Purchased lots in the possession of the appointed company will be subject to their own Conditions of Business and insurance arrangements. e. All packing and handling of lots is at the Buyer’s risk. AEA will not be liable for any acts or omissions of third party shippers, storers or packers. 9. REMEDIES FOR NON PAYMENT Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, AEA may in its sole discretion exercise one or more of the following remedies: a. store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; b. cancel the sale of the lot c. set off any amounts owed to the Buyer by AEA against any amounts owed to AEA by the Buyer for the lot; d. reject future bids from the Buyer; e. charge interest at a rate equal to the legal interest rate from the moment he is in default. f. re-sell the lot by auction or privately, with estimates and reserves at AEA’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale, including any shipping, storing, packing, insurance and handling fees owed to third parties; g. commence legal proceedings to recover the Purchases Price for the lot, plus interest and legal costs proceedings. 10. DATA PROTECTION AEA will use information supplied by Bidders or otherwise obtained lawfully by AEA for the provision of auction related services, client administration, marketing and as otherwise required by law. 11. MISCELLANEOUS a. All images of lots, catalogue descriptions and all other materials produced by AEA are the copyright of AEA. b. All notifications and communications to AEA shall be made in writing. c. These Conditions of Business shall be interpreted in accordance with Dutch Law. ART EUROPE AUCTIONS B.V. AUTHENTICITY GUARANTEE If AEA sells an item of Property which is later shown to be a “Counterfeit” subject to the terms below AEA will rescind the sale and refund the Buyer the total amount paid by the Buyer to AEA for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in AEA reasonable opinion is an imitation created with intent to deceive. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/ or modification work. To claim under this Guarantee, the Buyer must notify AEA in writing within one month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and return the Property to AEA in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale. AEA may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognized experts in the relevant field.

I M P O R TA N T I N F O R M AT I O N FOR BIDDERS AND BUYERS CONDITION OF BUSINESS All lots are offered subject to Art Europe Auctions B.V. Conditions of Business which are printed in the catalogue. BUYERS PREMIUM & VAT A buyer’s premium of 24,2% is applicable to all lots in this sale. The buyer’s premium is including VAT (currently 21%). Lots are normally offered for sale under the auctioneer’s Margin Scheme. This means that VAT is charged only over the buyer’s premium. Lots which are marked with a VAT Symbol (V) indicate that VAT is payable by the purchaser at the standard rate (21%) on the hammer price as well as being an element in the buyer’s premium. Lots which are marked with a double VAT symbol (VV) indicate that the lot has been imported from outside the European Union. VAT charges on these lots always include the hammer price as well as the buyer’s premium. ENDANGERED & PROTECTED SPECIES (i) Endangered and protected species Lot incorporates material from endangered species which could result in export restrictions. See the Conditions of Business for buyers (6. Import, export and copyright restrictions). (ii) Lots made of or including (regardless of the percentage) endangered and other protected species of wildlife are marked with the symbol ~ in the catalogue. This material includes, among other things, ivory, tortoiseshell, crocodile skin, rhinoceros horn, whalebone certain species of coral, and Brazilian rosewood. You should check the relevant customs laws and regulations before bidding on any lot containing wildlife material if you plan to import the lot into another country. Several countries refuse to allow you to import property containing these materials, and some other countries require a licence from the relevant regulatory agencies in the countries of exportation as well as importation. In some cases, the lot can only be shipped with an independent scientific confirmation of species and/or age, and you will need to obtain these at your own cost. (iii) Lots containing Ivory or materials resembling

ivory. If a lot contains elephant ivory, or any other wildlife material that could be confused with elephant ivory (for example, mammoth ivory, walrus ivory, helmeted hornbill ivory) you may be prevented from exporting the lot from the US or shipping it between US States without first confirming its species by way of a rigorous scientific test acceptable to the applicable Fish and Wildlife authorities. You will buy that lot at your own risk and be responsible for any scientific test or other reports required for export from the USA or between US States at your own cost. We will not be obliged to cancel your purchase and refund the purchase price if your lot may not be exported, imported or shipped between US States, or it is seized for any reason by a government authority. It is your responsibility to determine and satisfy the requirements of any applicable laws or regulations relating to interstate shipping, export or import of property containing such protected or regulated material. GOLD Gold of less than 18ct does not qualify in all countries as ‘gold’ and may be refused import into those countries as ‘gold’. ARTIST’S RESALE RIGHT Purchase of lots marked with the following symbol R will be subject to payment of the Artist’s Resale Right, at a percentage of the hammer price calculated as follows: Royalty 4.00% up to 50.000 3.00% between 50.000 and 200.000 1.00% between 200.000 and 350.000 0.50% between 350.000 and 500.000 0.25% in excess of 500.000 The Buyer agrees to pay AEA an amount equal to the resale royalty. Resale royalty applies where the price realized (Hammer and Premium) is 3,000 Euro or more. BIDDING IN PERSON To bid with us you must register to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity and you will be given a paddle number. All lots sold will be invoiced to the name and address in which the paddle has been registered and may not be transferred to other names and addresses. If you instruct an agent to bid on your behalf you will need to provide a letter of authority and they will also need to provide proof of identity. AEA reserves the right to refuse bids. ABSENTEE BIDS Art Europe Auctions will be pleased to execute bids on behalf of those clients unable to attend the sale in person. All bids must be submitted in writing in good time and lots will always be purchased as inexpensively as possible (depending on any other bids received, reserves & competition in the salesroom). It will be possible to arrange auction room telephone bidding, but subject always to availability. These services are offered free of charge and are subject to our Conditions of Business.

PAYMENT Payment is due in Euro’s immediately after the sale and before purchases can be released. Payments in person can be made in the saleroom on the day of the auction in cash, debit Card or Credit Card. Credit Card We are pleased to accept all major credit cards. A surcharge will be made to cover the charge made to us by the creditcard company or bank. Debit Card We accept Debit Card payments. Their is no charge for payment by Debit Card. Cash Cash payments will not be accepted above 10.000 Euro’s. Shortly after your successful bid in the auction you will receive an email with: The Invoice (hammerprice, buyer’s premium and applicable taxes); Payment instructions, property collection notice and shipping information. Electronic transfers may be sent directly to our bank: ABN AMRO Bank Leidseplein 29 Amsterdam The Netherlands IBAN: NL31ABNA0453211550 BIC Number: ABNANL2A Account name: Stichting Derdengelden Art Europe Auctions COLLECTIONS AND SHIPPING Buyers are urgently requested to pay and collect their paid purchases at the place of sale, Amtrium RAI Amsterdam, Europaplein Amsterdam during the sale or immediately after. Collection is not possible on Tuesday the 24th of may. Purchases not directly collected on the 22nd of may or 23rd of may will be collected by our preferred shippers and stored at their warehouses (see below). As from the 25th of may your purchased lot can be collected at the premises of our preferred Art Shippers. From this moment onwards, their general terms and conditions will apply. DECORATIVE ARTS & FURNITURE Neumann & Vettin Langs de Werf 18-20 1185 XT Amstelveen T: +31 (0) 20- 6407584 @: info@neumannenvettin.nl Open every weekday Opening Hours: 10.00 - 17:00 Neumann & Vettin can arrange delivery for purchased lots.Please contact them directly at above mentioned phonenumber or emailaddress. JEWELLERY For collecting your purchased lot(s) an individual appointment must be made. Please contact our office for further information. Storage costs will be charged for purchased lots from the 1st of june 2016. * Fixed fee for warehousing and administration: €15,00 per lot * Storagecharges per day: € 1,50 per lot Above mentioned prices are excluding VAT (21%) and payable in advance by bankwire.

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G L O S S A R Y O F C ATA L O G U I N G T E R M S Art Europe Auctions, the auctioneers, are always pleased to discuss individual lots with prospective purchasers prior to the auction and will provide condition reports on request. If you require clarification of any terms employed in the catalogue please do not hesitate to seek advice. e auctioneers are also pleased to discuss lots which may have been altered, repaired or restored. The term basically used in conjunction with a date (ie. basically 18th century) indicated that, in our opinion, the item may have undergone restoration, repair, or alternation. It also indicates that only an element of the piece may date from the period stated in the description. e absence of the term basically does not imply that an item is without restoration, repair, or alternation. e use of inverted comas around the work or phrase (ie. “pearl”) indicates that the piece, or object, may not be what it is purporting to be (ie. a simulated pearl). If you are in doubt out specialists are available prior to the auction to o er guidance and advice. Care is taken to ensure that any statement as to authorship, attribution, origin, date and provenance is reliable and accurate, but all such statements are statements of opinion and are not to be taken as statement or representations of fact. ART EUROPE AUCTIONS reserve the right, in forming their opinion, to consult and reply upon any expert or authority reasonably considered by them to be reliable. Descriptions of property in this catalogue do not always indicate condition, repair or damage. Buyers are earnestly advised to inspect personally any lot they intend to purchase. Weights and measurements are approximate and should be verified by intending purchasers. FURNITURE AND DECORATIVE ARTS A LOUIS XIV WALNUT MARBLE TOP COMMODE, EARLY 18TH CENTURY This heading, with the inclusion of the date, means that in Art Europe’s opinion the piece is of that period and has not been significantly altered or restored. A LOUIS XIV WALNUT MARBLE TOP COMMODE This heading, without the date included, means that in Art Europe’s opinion the piece is basically of the period and has been significantly restored or altered.

A LOUIS XIV STYLE WALNUT MARBLE TOP COMMODE This heading, with the word “STYLE” included, means that in Art Europe’s opinion the piece is an intentional reproduction of an earlier style. Art Europe does not accept liability for failing to describe any alteration or addition to a Lot which is concealed by upholstery, gilding or painted decoration and could only be detected by physically dismantling the Lot. JEWELLERY RUBY AND JADEITE Ruby and jadeite gemstones of Burmese (Myanmar) origin may not be imported into the US. Rubies and jadeite of non-Burmese origin require certification before import into the US and it is the Buyer’s responsibility to obtain all relevant and required export/import licences, certificates and documentation before shipping. Failure by the Buyer to successfully import goods into the US does not constitute grounds for non payment or cancellation of Sale. AEA will not be responsable for any additional costs in this regard howsoever incurred. GEMSTONES Historically many gemstones have been subjected to a variety of treatments to enhance their appearance. Sapphires and rubies are routinely heat treated to improve their colour and clarity, similarly emeralds are frequently treated with oils or resin for the same purpose. Other treatments such as staining, irradiation or coating may have been used on other gemstones. These treatments may be permanent, whilst others may need special care or re-treatment over the years to retain their appearance. Bidders should be aware that Estimates assume that gemstones may have been subjected to such treatments. A number of laboratories issue certificates that give more detailed Descriptions of gemstones. However there may not be consensus between different laboratories on the degrees, or types of treatment for any particular gemstone. In the event that AEA has been given or has obtained certificates for any lot in the Sale these certificates will be disclosed in the Catalogue. Although, as a matter of policy, AEA endeavors to provide certificates form recognized laboratories for certain gemstones, it is not feasible to obtain certificates

for each Lot. In the event that no certificate is published in the Catalogue, Bidders should assume that the gemstones my have been treated. Neither AEA nor the Seller accepts any liability for contradictions or differing certificates obtained by Buyers on any Lots subsequent to the Sale. ESTIMATED WEIGHTS If a stone(s) weight appears within the body of the Description in capital letters, the stone(s) has been unmounted and weighed by AEA. If the weight of the stone(s) is stated to be approximate and does not appear in capital letters, the stone(s) has been assessed by us within its/their settings, and the stated weight is a statement of our opinion only. This information is given as a guide and Bidders should satisfy themselves with regard to this information as to its accuracy. SIGNATURES 1. A diamond brooch, by Cartier When the maker’s name appears in the title, in AEA’s opinion the piece is by that maker. 2. A diamond brooch, signed Cartier Has a signature that, in AEA’s opinion, is authentic but may contain gemstones that are not original, or the piece may have been altered. 3. A diamond brooch, mounted by Cartier Has been created by the jeweller, in AEA’s opinion, but using stones or designs supplied by the client.

www.artloss.com

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Absentee Bids SALE DETAILS Sale title Sale date

TWO May 22, 2016

All submitted and successful bids are subject to the terms and Conditions of

Please complete and return this form by fax to +31 (0) 85 877 1903 or email it to

Sale printed in our catalogue and listed on our website. Please consult the

bids@arteuropeauctions.com at least 24 hours before the sale.

Conditions of Business as stated on our website and as listed on our website. All bidders are kindly requested to supply us with a bank reference. We will need to receive this information no later than 2 full days before the sale begins.

First Name

The maximum bids on this order form apply to the hammer price. please note: bids below two-thirds of the estimate cannot be executed. Please place your bids as early as possible, and no later than 24 hours before the

Last Name

sale. The execution of written bids and telephone bids is offered as an additional service to our clients and is at the bidders own risk; we cannot be held liable for failure of, or errors in, executing these bids. If the Lot Number and Title do not identify the same object, we will execute the bid based on the Lot Number. Your bids are valid for four weeks after

Adress

Postal Code

the auctions. ARTIST’S RESALE RIGHT Purchase of lots marked with the following symbol will be subject to

City

payment of the Artist’s Resale Right, at a percentage of the hammer price. The Buyer agrees to pay AEA an amount equal to the resale royalty. Resale royalty applies where the price realized (Hammer and Premium) is

Country

3.000 Euro or more

Phone

BUYERS PREMIUM & VAT A buyer’s premium of 24,2% is applicable to all lots in this sale. The buyer’s premium is including VAT (currently 21%). Lots are normally offered for sale under the auctioneer’s Margin Scheme. This means that

Fax

VAT is charged only over the buyer’s premium. Lots which are marked with a VAT Symbol (V) indicate that VAT is payable by the purchaser at the standard rate (21%) on the hammer price as well as being an element in

the buyer’s premium. Lots which are marked with a double VAT symbol (VV) indicate that the lot

VAT Number (EU clients only if applicable)

has been imported from outside the European Union. VAT charges on these lots always include the hammer price as well as the buyer’s premium.

Signature

BIDDING INCREMENTS Bidding generally opens below the low estimate and advances in increments of up to 10%, subject to the auctioneer’s discretion. Absentee bids that do not conform to the increments set below may be lowered to the next bidding interval. € 100 - 200

by € 10

€ 200 - 300

by € 20

€ 300 - 500

by € 20 - 50 - 80

€ 500 - 1,000

by € 50

€ 1,000 - 2,000

by € 100

€ 2,000 - 3,000

by € 200

€ 3,000 - 5,000

by € 200 - 500 - 800

€ 5,000 - 10,000

by € 500

€ 10,000 - 20,000

by € 1,000

€ 20,000 - 30,000

by € 2,000

€ 30,000 - 50,000

by € 2,000 - 5,000 - 8,000

€ 50,000 - 100,000

by € 5,000

€ 100,000

by € 10,000

Lot number

Title

Maximum bid (Euro)

The auctioneer may vary the increments during the course of the auctions at his or her own discretion. It will be possible to arrange auction room telephone bidding, but subject always to availability. These services are offered free of charge and are subject to our Conditions of Business.

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You will receive confirmation of your bid(s) by email or fax prior to the sale. Bid online for this sale at arteuropeauctions.com

AUCTION

MODERN

•

J U N E 12

CONTEMPORARY

Karel Appel, Dutch (1921 - 2006)

De Uilen

•

AMSTERDAM

PHOTOGRAPHY

Signed and dated ‘48

Oil on Canvas

60 x 40 cm

•

DESIGN

€ 180.000 - 250.000

For more information please contact us or visit our website info@arteuropeauctions.com +31 (0) 85 876 9977 www.arteuropeauctions.com

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